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THE ART AND CRAFT OF
GARDEN MAKING.

WORKS BY THE SAME AUTHOR.

"CIVIC ART: STUDIES IN TOWN PLANNING,
PARKS, BOULEVARDS, AND OPEN SPACES,"

BATSFORD.

" DUNFERMLINE,"

AN ILLUSTRATED REPORT PREPARED FOR
THE DUNFERMLINE TRUST.

"BOLTON,"

A STUDY IN TOWN PLANNING.

FRONTISPIECE.

GARDEN MAKNG

HONORARY -A -lu-B- A-
LECTURER. ^LANDSCAPE
DESIGN of& UNIVERSITY.
LIVERPOOL.

on .

'- - LONDON

B T BAT5FORD 94- HFGH HOLBORN

NEW YORK ; CHAS. SCRl&NERS SONS

/v\ v

Main Lib.
Agric. Dept

Dedicated

by special permission
To their Royal Highnesses

Field- Marshal the Duke of Connaught

and

The Duchess of Connaught

280310

PREFACE.

THE fact that my book " THE ART AND CRAFT OF GARDEN MAKING " has run
through three editions in the short period since it first appeared, could not fail
to be gratifying to me, and the very indulgent treatment which it has received,
both from reviewers and the large circle of friends which my practice in this and other
countries lias given me, themselves often deeply versed in many of the subjects dealt with,
has been a continual source of pleasure. Their kindness could not, however, blind me to
many faults which I was conscious still remained, even after the two partial revisions
undertaken before issuing the second and third editions, and it was this consideration which
determined me to re-write and very largely re-illustrate the book for a fourth edition.

There was also another consideration which made drastic revision necessary. In
the sphere of garden design, as in every other phase of modern life, the spirit of change
has made itself felt. New needs have arisen and new practical requirements, the out-
come of changing conditions, have to be met. As an instance of this, one has only to
quote the coming of the motor-car, which has made it necessary entirely to re-write
those portions which deal with drives, entrances, lodges and carriage courts.

In the arrangement of the book, a two-fold object has been kept in view. Not
only has every effort been made to deal with the subjects discussed in such a manner
as to provide interesting consecutive reading to all who love a garden, but also to
make each chapter, dealing with a special branch of garden making, complete in itself,
thus giving to the work some of the uses of a book of reference. This latter require-
ment lias necessitated some little repetition, which it is hoped the general reader will
pardon. There is no part of the fascinating subject of garden design which has not
a direct influence on every other part, and therefore, notwithstanding this confessed
redundancy, it has been thought necessary to provide copious indices in order that
each branch of the subject may be still further collated.

So much for the re-arrangement of the literary matter. The re-illustrating has been
undertaken from a different motive. In the first edition I was obliged to rely almost
entirely on perspective drawings to help me to visualize the plans illustrated, for, though
most of the schemes described were completed, so far as the actual work of formation
was concerned, the hand of time was necessary to clothe the groundwork thus created
with a softening and beautifying veil of greenery.

In the present edition, however, after twenty-five years' practice, I am in a position
to illustrate by photographs from my own work nearly all the points dealt with. While
this almost exclusive use of examples culled from my own practice may be considered
open to the objection that it narrows the outlook, it has the more than counterbalancing
advantage that each point shows some problem met in actual practice, and successfully
solved, a practical gain of the highest importance.

viii.

PREFACE.

Nevertheless I should be the last to claim that any merit which the designs illus-
trated may show is entirely my own. In almost every case throughout my practice,
where a scheme prepared has gone further than the draughting board, I have owed
much to the interest and advice, the outcome of an intelligent and discriminating enthu-
siasm for the work, which have been shown by my Clients. It is only by this sympathetic
collaboration that the best results can be obtained.

I wish also freely to express my indebtedness to those of my Clients who have
kindly permitted me to illustrate the work which I have done for them. I also desire
to acknowledge the help rendered by my Sons, Messrs. E. Prentice and John W.
Mawson, the former of whom executed most of the additional drawings prepared for this
edition, and by many of my office staff, past and present, including Messrs. R. Atkinson,
I). Cameron, N. and H. Dixon, J. Dyer, A. N. W. Hodgson, R. Mattocks, J. R. Mawson,
H. Pierce, J. Shaw and J. B. Walker, each of whom has taken a keen and practical
interest in the production of the work. The book also owes much to the illustrations by
Messrs. E. A. Chadwick and E. A. Rowe, particularly the coloured plates.

Lastly I wish to acknowledge the invaluable services rendered by my Secretary and
former pupil, Mr. James Crossland, who arranged my MS. for the printer. Without this
collective effort, this edition, produced, as it has been, in the intervals of an extensive
and growing practice, would have been impossible.

THOMAS H. MAWSON.

High Street House, Lancaster.
October, 1912.

IX.

List of Chapters.

CHAPTER i. THE PRECEDENT OF GARDEN DESIGN.

2. THE PRACTICE OF GARDEN DESIGN, t $'

3. THE CHOICE OF A SITE AND ITS TREATMENT. 2. i

4. ENTRANCES AND CARRIAGE COURTS.

5. GATES AND FENCES FOR GARDEN AND PARK.

6. DRIVES, AVENUES AND SERVICE ROADS. ^

7. TERRACES AND TERRACE GARDENS.

8. FLOWER GARDENS, BEDS AND BORDERS. 10'

9. LAWNS, GLADES AND GARDEN WALKS. \2-

10. VERANDAHS, SUMMER-HOUSES, PERGOLAS AND BRIDGES. |

11. STATUARY, TREILLAGE AND GARDEN FURNITURE.

12. THE DECORATIVE TREATMENT OF WATER, p

13. ROCK, WALL AND BOG GARDENS.

14. CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

15. KITCHEN GARDENS AND ORCHARDS.

16. THE FORMAL ARRANGEMENT OF TREES. ^ i

17. PLANTING FOR LANDSCAPE EFFECT.

18. TREES AND SHRUBS FOR GARDEN AND PARK. ^\

19. CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS. ^ L

20. HARDY PERENNIALS FOR BEDS, BORDERS, ETC.

EXAMPLES OF GARDEN DESIGN.

GARDENS OF VARIOUS SIZES.

Gardens to semi-detached houses.

Garden to small detached residence. ^ '

Garden for a larger detached residence.

Garden for a good-sized suburban residence, j 3 If

A large town garden. ^ $ »

Grounds to a new Country Seat. ^ V 5

Grounds to an ancestral domain. 3 f °j

GARDENS OF EXCEPTIONAL KINDS.
A Lake District garden.
A Highland garden. i * ^
A garden on a flat site. 3 6~^
A garden in granite. J (> 3

A garden to a classic renaissance mansion. 3^^
A mountain home. ^ 7
A hillside garden. .? <
An old Tudor garden, restored, remodelled and enlarged IT?

FIG. I. — END OF THE GLADE, LEWISTON MANOR.

CHAPTER I.

Before considering the various features which go to the making of a modern
garden, it will be necessary to take a rapid survey of the history of the art of Land-
scape Architecture so far as it has any immediate bearing upon our subject, and
provides a precedent on which to work.

The existence of gardens may be taken as being coeval with the whole period
of man's growth from utter barbarism to present-day civilization ; but, for our immediate
purpose, it is sufficient to deal with the development of the art in our own country.
Those who are interested in the archaeological aspect of the subject will find it very
fully dealt with in London's " Encyclopaedia of Gardening."

The evolutionary lines along which advance is made in every art demand that a
thorough knowledge of precedent shall form a prominent part of the training of the
expert, and although it has been said with truth that landscape architecture suffers,
in comparison with other arts, from the paucity of its precedent, this merely means that
the planning of the modern garden is a young art capable of much development, and
does not excuse a lack of knowledge of all that has been done by masters of the craft
in this country during . the last four centuries.

With Roman and Norman gardens it is not necessary to deal, further than to
say that they probably formed the basis of many medieval monastic pleasaunces. Up
to the close of the Tudor period, when the renaissance in all forms of art had taken
such a firm hold upon Europe, garden design, except in connection with Royal Palaces,
like so many other branches of knowledge, was almost entirely in monastic hands, and
most of the existing records of the achievements of the monks are contained in the
illustrations with which they embellished their illuminated manuscripts, and incidental
references to the beauties of their parterres and pleached alleys in the metrical romances
of the period.

From the time of Henry II., however, the citizens of London had gardens to their villas,
while later, in the reign of Henry V., the gardens at Windsor Castle, which he knew
well from his imprisonment there, were thus described by King James I. of Scotland
in " The Quair " :—

1 Now was there maide fast by the touris wall
A garden faire, and in the corneris set
Ane herbere grene, with wandis long and small
Railit about, and so with treeis set
Was all the place and hawthorn hedges knet,
That lyfe was non, walkyng there for bye
That myght within scarce any wight espye.

So thick the bewis and the leves grene

Beschudit all the alleyes that there were,

And myddis every herebere might be sene

The scharp grene swete jenepere,

Growing so fair with branches here and there,

That as it semyt to a lyfe without,

The bewis spred the herbere all about."

Knowledge
of precedent
necessary.

Roman and

Norman

Gardens.

THE PRECEDENT OF GARDEN DESIGN.

Monastic Although formality was the rule within the medieval pleasure grounds, natural foliage

Gardening. effects were interspersed with the hedges, " beshaded " alley walks, topiary borders,
fountains, flower beds planted in intricate patterns, arbours and flower-covered trellis
which formed the greater part of the gardens. The charm of the English garden has
ever been its adaptability to the rural and pastoral scenery among which it is placed,
and in this respect the monastic builders and designers excelled. They first chose a
site of natural beauty, as may be seen in the ruins of Bolton, Fountains, Tintern or
Furness, and then built their abbeys with an instinctive feeling for harmony, making
them blend into their surroundings of river, woodland or fertile pasture in a manner
which has never been surpassed. They possessed the well-nigh unique power of adapting
the geometric formalities of Gothic architecture to natural scenery, and so, in the for-
mation of their gardens, the natural and the artificial were placed side by side, neither
clashing with the other, but each gaining added beauty from the contrast.

The souls of such men could never be cramped within the pleasing neatnesses of
the garden, they moved in larger prospects, their admiration and wonder were called
forth by the beauties of Nature, the magnanimity of the Creator moved them to higher
thoughts and aspirations. They possessed a broad grasp of Nature's excellences, the
spirit of which infused alike their missals, their architecture and their gardens with
that sense of a mystical environment which the least responsive to sympathetic sur-
roundings must feel to some extent at least in an old-world pleasaunce.

Renaissance As before stated, a new period of garden design commenced during the Tudor period. Up

Gardens. to the commencement of the reign of Henry VIII., gardening, in common with all
peaceful arts, had suffered a serious check in the disturbed state of the country during
the Wars of the Roses, but the advent of more peaceful times, together with the
advance in learning and travel, inevitably resulted in the importation of foreign
styles of design, notably the Italian, French and Dutch, thus infusing fresh life into
the art.

There is, however, such a pronounced individual character about our national land-
scape that it resists the heroic stateliness of the Italian manner with its too lavish
details and the undue artificiality of the French renaissance, of which Versailles is
perhaps the most typical example, as well as the curious conceits of the Dutch styles.
All these suit their own countries well enough but are not at home in England ; they,
however, held the field in succession from the decadence of the monastic influence until
the time when the style which is known as typical English gained the ascendency.

The Italian style was probably first attempted in this country by Henry VIII. at
Nonsuch, and Wolsey at Hampton Court, though the gardens at the latter place, as they
now appear, were not completed until the reign of William III. The existing maze
is however Wolsey 's work.

All the garden books of the sixteenth century abound in descriptions of Italian
features in white marble and Lydian stone copied from the designs of Italian Landscape
Architects of the period ; yet there is evidence in the writings of Doctor Andrew Borde
and Thomas Hill that there were souls who yearned for emancipation from the foreign
yoke and its artificialities, and to breathe their native air in an environment and amidst
features which accord with its quiet type of beauty.

These two writers paved the way for Gervase Markham and William Lawson in the next
century, both of whom wrote from practical experience. Their works abound in evidences
of their innate love of Nature and of their delight in sights and sounds gratifying to
the senses, as the following quotation from the writings of the latter will show :—

" What more delightsome than an infinite varietie of sweet-smelling flowers ? decking

. with sundry colours the greene mantle of the Earth, the universall Mother of us all,

so by them bespotted, so dyed, that all the world cannot sample them, and wherein

THE PRECEDENT OF GARDEN DESIGN.

is it more fit to admire the Dyer, than imitate his workemanship. Colouring not onely
the earth, but decking the ay re, and sweetning every breath and spirit."

It is in these men and such as they, that the English school of garden design finds
its parentage. They wrote for the people of average means rather than for the very
wealthy, and they advocated a restrained and ordered formality in the least ambitious
gardens. They retained all that was pleasing of the medieval examples, the high en-
closing wall, the clipped hedges, the knots and borders, advocating the inclusion of
topiary and straight paths bounding and intersecting short courts of grass, with a foun-
tain, a sundial or a pyramid at their junction.

They knew how to frame the dainty jewel in its rustic green setting, trim and
neat within and in harmony with its rural surroundings without, and even with the
azure sky above. They resented the grandiose assumptions of the Italian and other
imported styles and, in attempting to repair the vagaries of the landscapists who suc-
ceeded them, it is to these same healthy traditions we must return.

The Italian inspiration was fostered under the renaissance revival by Inigo Jones,
who had studied the neo-classic style in Italy and had given special attention to the
productions of Palladio, and who erected what is probably the first garden pavilion
ever built in England, at Beckett near Farringdon. This revived interest in classic
architecture had a salutary effect on the design of both houses and gardens in
demanding in everything proportion and symmetry and, although widely popular up
to the time of the supremacy of the Puritans and the disturbances of the civil war, when
the gentler arts were for a time despised, nevertheless provides the highest standard for
the education of public taste reached up to the close of the last century.

The accession of Charles II. restored garden design to favour. It was he who
invited to this country le Notre, whose creations at Versailles and other places were
on the largest possible scale. Such gardens as he planned needed an enormous expanse
of ground and were combined with avenues which extended for miles beyond the boun-
daries of the garden proper. Le Notre taught the English gardeners expansive ideas,
though, with exceptions like Badminton, there have naturally not been many oppor-
tunities of carrying them out. The ordinary country gentleman of the time avoided
sumptuous effects and remained staunch to the unpretentious delights which had pleased
his ancestors. That le Notre could adapt himself to his environment, however, is evident
from his work at St. James's and Greenwich Parks.

With William and Mary was introduced the quaintness of the Dutch garden, which
later ran riot in extravagant and ridiculous topiary. It was a degenerate art which
destroyed the restful simplicity which had hitherto been such a marked characteristic of
the national school of garden design. The introduction of these foreign styles had
an unsettling effect on English gardening and, when the teased and tortured extrava-
gances fell before the ridicule of Walpole, Pope, and Addison, a new fashion was evolved
which usurped to itself the title of the " Natural Style," though, in spite of all that
it professed, it was, in a different way, as much the subject of rules and as formal
as anything which had gone before. As we see in the writings of Markham and Lawson,
the formality of the old school was more honest and logical and more sincere in its
genuine love of Nature.

From this time up to the latter part of the nineteenth century, garden design, Decay of
considered as a decorative art, could not be said to have made any decided advance, the Italian
Even the wealth of material which had been evolved or introduced in the interval, School.
and which should have enlarged the scope of the art, merely resulted in obscuring
broad principles under a mass of small detail and in giving free rein to those lovers of
the curious and exotic who, by converting the garden into a floral and arboricultural
museum, destroyed its restfulness and placed it entirely out of sympathy with the

THE PRECEDENT OF GARDEN DESIGN.

surrounding rural scenery. If we study the principles upon which the medieval and
renaissance gardeners worked, and contrast them with the practice of the garden designers
of the last century, we find that the former subordinated every detail to principle,
whereas the latter considered sundry points of detail to the exclusion of any regard for
the scheme as a whole and of the relation the parts should bear to it.

The men of the old school were idealists and expressed their ideas in a straight-
forward, common-sense manner, basing everything on a balanced plan and using ornament
to emphasize it. They laid out a garden in so many plots, with hedges or trellis round
each, or a tree was planted at each corner to give point and expression to the shape.
We have to thank these old designers for many stately avenues, grand parterres, quiet
alleys, shady walks, sparkling fountains, quaint hedges, architectural ponds and broad
lawns, wedded together in such a masterly way as to impress the spectator with the
grandeur and transparent honesty of the whole scheme. Their restrained and harmonious
details, so admirably adapted to the purpose they had to serve, marked these early
designs as the work of men of the widest sympathy with garden craft. Here, in figures
Nos. 2 and 3, are two examples of their work, the first shewing Haddon Hall, erected
on a Derbyshire hillside and needing the support of masonry, thus giving an opportunity
to its designer for a chaste and beautiful balustrade and a fine flight of steps. The
other is of Levens Hall, suggesting a strong Dutch influence, a style more adapted to
gardens laid out on a level site.

Eighteenth ' Landscape Gardeners," as the garden designers of the late Georgean and Victorian

Century periods called themselves, may, for want of a more correct expression, be called realists,

Gardening. their theory being that the perfection of the art of garden making consisted in pedantic
imitation of Nature. The founder of this school was " Capability Brown," a man who
was, for a long time, regarded as a genius. As he lived at a period in which almost
every branch of art and literature was in the throes of change, there is no wonder
that he turned his back upon the old examples of garden design and espoused the
promised novelty of what he and his followers conceived to be a new discovery, which
was briefly that every bit of pastoral scenery was of itself a garden fair, which they
fondly imagined could be reproduced wherever the designer willed. Brown and his
admirers thought that the old pleasaunces possessed greater possibilities than the original
designer had realised, so down came the terrace walls, the mattock was laid to the
roots of the box and yew hedges, and the pleached alleys were demolished. Remon-
strance or counsel was useless, the tide had set in, onward it ruthlessly swept, regardless
of the labours of a past generation and recking little of the sanctifying hand of time.
Nature, they proclaimed, must henceforth supplant idealization, and the crudest effects
perpetrated in her name be placed on a higher pedestal than that ordered symmetry and
balanced proportion which is the soul of all true design.

The old school was doubtless decadent, and some corrective to the vagaries and
appalling insipidities into which it had fallen was certainly required, but such a revolu-
tionary change as that brought about by the garden designers of the eighteenth and
the beginning of the last century is to be deplored. The ability of these men was
measured by the amount of deception they were able to perpetrate, for their one claim to fame
consisted in imitation and not in invention. With such ideas it is not surprising that
sham castellated ruins and other absurdities came to be considered as necessary adjuncts
to garden scenery. Ignorance and blind infatuation must altogether have possessed these
innovators, or they would have seen that the old designers had learned many of the
secrets of Nature which they seldom caught.

It is refreshing to find that, among all this turmoil of propaganda of new ideas,—
this wanton destruction of beautiful work for the sake of an upstart fashion, — there were
men who still clung to the old principles and who dared to risk adverse criticism by

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FIG. 4. — SCOTCH FIRS ON BRATHAY CRAGS, WINDERMERE, IN WINTER.

FIG. 5. — SCOTCH FIRS ON BRATHAY CRAGS, WINDERMERE, IN SUMMER.

THE PRECEDENT OF GARDEN DESIGN.

planting avenues of one tree which fortunately were never discovered by the " garden
improvers."

In their own way, too, and without arrogating to themselves the control of Nature,
the old-time designers secured those unlooked-for surprises and cosy retreats in which
she abounds, whereas the men who claimed the sole possession of her secrets perpetrated
the saddest kind of formalism, as may be seen to-day in the suburbs of all towns and
especially in their planting. The conscious effort to avoid a straight line is particularly
wearying and there is a satiating sameness in their methods of arranging deciduous
trees and pines, two or three of the former to one of the latter.

Thus were the two schools of garden makers opposed to one another — the first relying
on design for power of expression and the latter on their skill in imitating Nature.
Had Brown and his followers been content with imitation, they would have simply
perpetrated so many absurd and expensive frauds, but this did not meet the whole of
their misguided practice. Walks and drives and many other things were required which
could not be made to imitate Nature, and, as stated elsewhere, this led to many of
the garden designer's most promising media being treated as unfortunate necessities.
For the solution of the problem thus presented, the rule was invented that " Nature
abhors a straight line," for these self-styled followers of Nature had no eyes to see
the silver gleam across rippled water, the straight line in a sunset sky or the symmetry
of the towering pine. The indiscriminate application of this rule to roads, lawns and
other features could not but produce disastrous results. Drives were made to wriggle
across flat expanses where every other consideration would dictate a straight line, and
lawns also which were flat or only gently undulating had to be altered to imitate
" Nature in her best moods," and so "undulating" became a stock accomplishment.

In dealing with the open landscape of the home park, however, the work of this
school is often commendable for its breadth. Theirs was a great age for the planter.
Although they demolished avemies which, they said, arbitrarily parcelled the landscape
off into sections and prevented breadth of effect, they largely atoned for this by em-
phasizing the natural features, by crowning the heights and planting their slopes with
homely native trees, and clearing timber from the valleys so that the hills might rise
still higher and the valleys appear deeper. To them are due many of the magnificent
backgrounds of ancient- trees against which our ancestral homes nestle. In the view
of Brathay Rocks, Windermere, planted with Scotch firs (111. Nos. 4 & 5), we have
one of those characteristic features upon which the old landscapists would have seized.

After Brown came Repton, who, while he professed to be a follower of Brown, was
unquestionably far ahead of his master in intelligence and power to grasp the importance
of the office of design. In many instances he refused to destroy old gardens, and in
others he readjusted, in a consummate manner, the vagaries of his predecessor. Repton
learned what was consistent with, and even a necessary accompaniment of architecture.
Whereas the old garden designers favoured a formal scheme and the followers of Brown
an entirely natural garden, Repton recommended formality near the house, merging
into the natural, attaching the house by imperceptible gradations to the landscape.
He took a further step towards idealism by making, for each scheme, a number of
sketches shewing how the place would appear when the trees had attained a certain
growth, so that, while the results of his methods were not demonstrable to the same
extent as in the designs for a geometrical garden, which can be projected in planes by
perspective drawing, there was a degree of probability in his proposals.

In his " Sketches and Hints," Repton enunciated ten principles, the outcome of his
experience, which shew the responsible position he took in respect to garden design and
estate improvement. They are of such general interest that we make no excuse for
printing them in extenso :—

Two
Opposed
Schools of
Garden
Design.

Repton.

THE PRECEDENT OF GARDEN DESIGN.

No. i. " There is no error more prevalent in modern gardening, or more frequently
carried to excess, than taking away hedges to unite many small fields into
an extensive and naked lawn, before plantations are made to give it the ap-
pearance of a park ; and where ground is sub-divided by sunk fences, imaginary
freedom is dearly purchased at the expense of actual confinement."

No. 2. " The baldness and nakedness round the house is part of the same mis-
taken system, of concealing fences to gain extent. A palace, or even an elegant
villa, in a grass field, appears to me incongruous ; yet I have seldom had
sufficient influence to correct this common error."

No. 3. " An approach which does not evidently lead to the house, or which does
not take the shortest course, cannot be right. (This rule must be taken with
certain limitations. The shortest road across a lawn to a house will seldom
be found graceful and often vulgar. A road bordered by trees in the form of
an avenue, may be straight without being vulgar ; and grandeur, not grace or
elegance, is the expression expected to be produced.)

No. 4. "A poor man's cottage, divided into what is called a pair of lodges is a
mistaken expedient to mark importance in the entrance to a Park.

No. 5. " The entrance gate should not be visible from the mansion, unless it opens
into a court-yard."

No. 6. " The plantation surrounding a place, called a Belt, I have never advised ;
nor have I ever willingly marked a drive, or walk, completely round the verge
of a park, except in small villas, where a dry path round a person's own field
is always more interesting to him than any other walk."

No. 7. " Small plantations of trees, surrounded by a fence, are the best expedients
to form groups, because trees planted singly seldom grow well ; neglect of
thinning and removing the fence, has produced that ugly deformity called a
Clump."

No. 8. " Water on an eminence, or on the side of a hill, is among the most common
errors of Mr. Brown's followers : in numerous instances I have been allowed to
remove such pieces of water from the hills to the valleys ; but in many my advice
has not prevailed.

No. 9. " Deception may be allowable in imitating the works of NATURE ; thus
artificial rivers, lakes, and rock scenery, can only be great by deception, and the
mind acquiesces in the fraud, after it is detected : but in works of ART every
trick ought to be avoided. Sham churches, sham ruins, sham bridges, and
everything which appears what it is not, disgusts when the trick is discovered."

No. 10. " In buildings of every kind the character should be strictly observed.
No incongruous mixture can be justified. To add Grecian to Gothic, or Gothic
to Grecian, is equally absurd ; and a sharp pointed arch to a garden gate or
a dairy window, however frequently it occurs, is not less offensive than Grecian
Architecture, in which the standard rules of relative proportions are neglected
or violated.

' The perfection of landscape gardening consists in the fullest attention to
these principles — Utility, Proportion, and Unity, or harmony of parts to the
whole."

Brown and Repton had a host of imitators who followed one another in an ever
descending scale of puerile imitation, until the whole art of garden design was reduced
to the arrangement of the four factors of clumps of trees, belts of planting, single trees,
and " undulations " accompanied by sheets of water arranged according to one unvarying
stock design which differed only so far as the size of the estate made absolutely necessary.

THE PRECEDENT OF GARDEN DESIGN.

Speaking of this period, Loudon says : — " The Professor required no further exami-
nation of the ground than what was necessary to take the levels for forming a piece
of water, which water uniformly assumed one shape or character, and differed no more
in different situations than did the belt or the clump. So entirely mechanical had the
art become, that one might have guessed what would have been the plan given by the
professor before he was called in ; and Price actually gives an instance in which this
was done. The activity of this false taste was abated in England before our time "
(Loudon wrote at the beginning of the nineteenth century), " but we have seen in
Scotland, between the years 1795 and 1805, we believe, above a hundred of such plans,
in part formed by local artists, but chiefly by an English professor, who was in the
habit of making annual journeys to the North, taking orders for plans, which he got
drawn on his return home, not one of which differed from the rest in anything but
magnitude. These plans were, in general, mounted on linen, which he regularly pur-
chased, in pieces of some hundreds of yards at a time, from a celebrated bleachfield
adjoining Perth."

This state of affairs led to the letting loose of a flood of argument as to what
were the principles on which gardens should be designed and whence they should
obtain their artistic precedent. Repton, Knight and Price were conspicuous in the fray
both from the volume of their writings and the weight of their arguments, and the
subject even became the motive of a novel and the subject of poetry.

The upshot was that the whole art fell more or less into disuse for a time and 5^ Joseph
only entirely revived with the advent of Sir Joseph Paxton, whose excellence as a natural Paxton and
genius in the science of constructional engineering, coupled with his experience as a his contem-
practical gardener, were considered sufficient qualifications for work which, above all poraries.
things, demands a most catholic art training.

Nevertheless his work, together with that of his contemporaries, Edward Milner,
Robert Marnock, Edward Thomas and Edward Kemp, was not without very considerable
merit and a great advance on that which preceded it. It stands out in bold re-
lief against that of the host of nurserymen and garden contractors who, encouraged by
negligent architects and indifferent clients, added to their legitimate occupation what
they were pleased to call " Landscape Gardening," which, whatever the term might
convey to the customer, did not suggest to the professor of the trade any study or
knowledge of the arts.

It is not surprising therefore that, towards the end of the last century, the whole
art was viewed, by persons of education and taste, more in a spirit of toleration than
with any enthusiasm for its development and that, between the architect for the house
and the planner of its surroundings, there should grow up a mutual contempt and mis-
understanding.

Kemp, by his writings and work, alone did much to heal this breach. He published,
under the title of " How to lay out a Garden," a most excellent book which ran through
three editions. The following quotation from the preface to the third edition of this
work shews how nearly Kemp approached, at least in appreciation, to the architect's
outlook on garden design :—

"It is much to be regretted that architects and landscape gardeners do not more
usually work together in complete unison from the very commencement of any under-
taking in which they are jointly consulted ; and he who would produce a work in which
the relation of the two arts to each other, and the elements of garden architecture and
of architectural gardening, should be skilfully handled and tastefully illustrated, would
deserve the thanks of the entire art-loving community."

The undoubted revival which has followed the mistakes of the Early Victorian era
in all forms of art is having its influence on Landscape Architecture. The dictum

Kemp.

THE PRECEDENT OF GARDEN DESIGN.

The modern that every common thing about our homes should be so designed as to be beautiful

revival in without impairing its usefulness, while it has inevitably led to some of the extravagances

garden of the " Art nuovo " cult, has had an unbounded influence for good, and the recognition

design. of the equally obvious truism that all art media owe their artistic effect to juxtaposition

of harmony or contrast has led us to see that, between the designer of the house and

the architect of its setting, there must be the closest artistic sympathy and mutual

appreciation if the result of the work is to be successful.

This close sympathetic connection can only be realized when the education of the
votaries of these two departments of art is based upon a broadened curriculum which
will ensure each gaining an insight in the round into the aesthetic factors dominating
the sphere of the other.

We now stand at the parting of the ways and it remains to be seen whether the
landscape architect on the one hand will co-operate with the domestic architect, and
whether the latter will work in generous harmony with him, or whether the houses and
gardens of the future are, by their aloofness from one another and want of aesthetic
connection, to shew evidences of that lack of all appreciation on the part of each for
the work of the other which has marked the domestic architecture of the last century.
Eventually, but not before we are prepared to devote a longer period to academic studies,
these two callings, so necessary to each other and so closely interwoven at every point, may
merge into one.

•

CHAPTER II.

The foregoing brief sketch of the history of garden making, so far as it relates to
Great Britain, naturally raises the question — What should be the aim and position of
the ART AND CRAFT OF GARDEN MAKING at the present day ?

To understand thoroughly the bearings of this question, we must first of all realize The term
that garden design, or the Architecture of Gardens, is only a part of a much greater "Landscape

subject of infinitely wider application, the profession of Landscape Architecture, and, if Arcnitec-

tuYe
we examine the aims, scope and intention of this art, we shall by that means most

easily arrive at the answer to our question.

Before proceeding to do this, however, we would explain that the term " Landscape
Architecture " is not of our choosing.* Its unfortunate etymological significance, which
would seem to suggest puerile interference with natural scenery or, worse still, the attempt
to reproduce Nature's glories on a mean scale in competition with artificial surroundings,
has undoubtedly helped to obscure the real purpose of the art and to reduce its practice
to the debased level at which we find it in the average town garden, where sickly exotic
plants and blood-red terra-cotta predominate.

Shortly defined, Landscape Architecture is the art of co-relating the component parts
of a scheme over large areas. It aims at the rhythmic, balanced or co-ordinated relation
of all the units, utilitarian or decorative, employed within the area under treatment. It
aims at producing a collective effect from the scattered units presented by the component
parts, whether they be ecclesiastical, public, or domestic buildings, trees, greensward,
roadway or flower beds, giving everything its proper place in relation to the whole,
and marking fittingly by their arrangement the relative importance of each object.

This leads to the reflection — Are not architecture, horticulture, engineering and all the
other factors which go to the making of a city or domain, parts of one great art or
science ? Yes, in one sense, and this art is Landscape Architecture. In another sense
they are not, for it is impossible to conceive of an art without an artist or art-craftsman
capable of grasping even the technicalities of his art, and the whole of these subjects
could not be undertaken by one man within the ordinary span of existence.

As an art or science comes to be more fully known and the volume of its precedent Specializa-
increases, its adherents find it necessary to specialize and devote themselves to one tion.
portion of the subject, leaving the development of other branches to their confreres, each
specialist sharing in the advance made by others and contributing to the general progress
of the science as a whole.

* "Topographical Architecture" would probably be a term less liable to be misunderstood.

THE PRACTICE OF GARDEN DESIGN.

This is particularly so in the science of those arts which minister more or less
directly to the conveniences and necessities of modern life with its ever-growing com-
plexities and luxuries. It is not surprising therefore that, in the creation of that
portion of our material environment which we call architecture, this specialistic tendency
should be particularly marked, for in recent years the whole art has advanced in such a
manner that to keep abreast of all its manifold activities is an impossible task for the
individual student.

Unfortunately, there is sometimes the danger that, in this inevitable subdivision of
labour, there may be a neglect of the art in the elaboration of its parts. Thus, in
architecture, which depends for its success more than any other art upon correct staging,
we are rapidly awakening to the fact that, in the study of individual buildings, we have
neglected the greater and broader subject of Landscape Architecture, without which,
effort spent on the design of detached units can never have its full fruition.

We have looked upon each unit in the composition too much as an entity in itself
and too little as a component part of a larger scheme, and, not until we can conceive
of the individual creation in its dual capacity, first as a fitting subject for the exercise
of creative design in itself, and secondly as but a factor in a much broader scheme
which, taking it as it stands, as un fait accompli, will deal with it in its relationship to
many varying factors, can the architecture of this country reach its highest development.
The Scheme ^his *s wnere architecture, and especially domestic architecture, must begin — this is

as a unit. where the Landscape Architect must find his inspiration — and it is because of an awaken-
ing consciousness to this great truth that we find growing up a school of designers who
are making the planning and design of gardens and the staging of architecture their
special province.

But, it may be objected, it is impossible to conceive of any building apart from its
site and therefore design and staging cannot be dealt with separately by the domestic
and landscape architects. While it is true that environment will influence the least
responsive designer so far as the design of his particular unit is concerned, it is only
the influence of immediate surroundings on the unit, and that very partially, which he
realizes ; the greater possibilities contained in the opposite view, the relation of the unit
to its surroundings, are entirely neglected.

That the need of a master hand to correlate and co-ordinate scattered units should
ever have been lost sight of is due, not so much to egotism on the part of those in
charge of the various sections of the subject, as to the lack of adequate representation
from which Landscape Architecture has suffered ; the lack, that is, of a strong man to
fill the post and worthily uphold the traditions of his office. The process of decadence
has been traced, in the last chapter, from the days of " Capability Brown," who, by
turning his back on creative design to caricature Nature, destroyed the very root-founda-
tions of his art, and thus opened the way for a host of followers who, knowing nothing
of creative design and caring less, conceived the whole subject to be a happy field for
laisse-faire, in which there can be no sense of constructive beauty and, at best, but an
attempt to instruct Nature in her own unapproachable sphere.

It is thus that the term " Landscape Architecture," as usually understood, conveys
nothing more to the mind than a slight and partial infusion of colour, neatness and
prettiness, a smoothed-out, drilled and marshalled effect, superimposed as a veneer over
the area treated, or an artificial improvement of that order which pervades all Nature.

It is not, however, to the discredit of this, or of any other branch of art, that its
essential elements are not obvious, or that, as a science, it needs study for its apprecia-
tion, and the very fact that it is misunderstood or even despised by the ordinary person
only attests its reality and intrinsic worth. Though he applauds when a noble result
is attained, he can never understand the architect's intentions or share his vision. Again,

FIG. 7. — RENAISSANCE GARDEN AT MENTMORE.

FIG. 8.— EARLY VICTORIAN FLOWER GARDEN AT BROUGHTON CASTLE.

THE PRACTICE OF GARDEN DESIGN.

The Re-
naissance
of the Art.

The train-
ing of the
Landscape
Architect.

while he is content with those adornments which are curious or novel, or have the sanc-
tion of fashion, viewing them as isolated features and never as a part of an artistic
composition, the intelligent and educated observer must have, first of all, a clear impres-
sion of the fundamental principles underljdng the art, and resulting in a self-contained
and co-ordinated entity embracing within itself all the necessary parts of the scheme,
giving to each its proper place and necessary emphasis as a part of a well-balanced whole.

Far too long has the whole art been the sport of changing fashion and uninformed
public taste and the prey of a spurious dilettantism which, by its vagaries, its sham
ruins, its miniature Alps and impossible vistas, has reduced it to utter absurdity.

With the domestic architect on the one hand viewing his creation as an isolated unit
to the exclusion of everything else, the practical gardener on the other trampling under-
foot every canon of art in his eager desire for perfect specimens of exotic plants, and the
engineer whose sole idea of beauty is superadded adornment, things have fallen to a very
low ebb and, unless the present awakening to the need of a collective effort in design is
adequately responded to, the contemporary school of landscape architecture will have
only itself to blame if its claims are denied and its work and status taken from it
and bestowed upon others who will more worthily uphold its traditions.

How then is the renaissance of the art to be effected ? I think that the best way
to answer this important question is to consider, very shortly, first, the training and
requirements of the landscape architect, and, secondly, the ideal which should inspire him
throughout his life-work. The former will give us some insight into his practical, and
the latter into his artistic equipment.

The first of these questions, if fully considered, would involve an examination of the
whole syllabus of the student's training in landscape architecture ; but, although this is a
subject of great interest, which, in its application to the design of cities, is receiving
experimental treatment at Liverpool University at the present time, it is impossible, in
the space available, to do more than to indicate a few of the principal subjects which it
will be necessary for him to master. First of all must come a general training, which
shall be framed with the intention of inculcating that catholicity of ideas, power of
concentration, and love of orderly progression and logical sequence which are best attained
by an all-round classical education, the fruits of which find their use and expression in
every walk of life, and which will be particularly appreciated in work which consists
primarily in the welding of component parts into a balanced whole. On this foundation
must be built a knowledge in the round of, and sympathetic interest in, not only every
branch of architecture, but also in arboriculture, forestry, engineering and many other
most divergent sciences which all go towards the making of a city or the embellishment
of its parts.

It is not of course necessary, or indeed possible, that the Landscape Architect
should possess such an intimate knowledge of the minutiae of all these professions that he
could dispense with the services of the expert in each department. His task must be
very largely that of an arbiter, who by a broad-minded sympathy for the aspirations of
each, born of knowledge of the rules and ideals of his profession, is able to prevent that
multiplication of little aims and disjointed efforts which abound in the average city or
domain.

Superimposed on this academic training must be a marked natural versatility which
will enable him to appreciate the efforts and the points of view of all the various
designers or craftsmen of the component parts of the scheme, and so to give to each its
proper place and correct emphasis. It thus follows that he must possess the jtidicial
mind with the soul of the artist, a rare combination, it is true, but a necessary one if
the confidence of his fellow-workers is to be obtained and held, a condition absolutely
essential to success.

THE PRACTICE OF GARDEN DESIGN.

Even this is not enough, for the perfectly equipped landscape architect will not only
have to deal with fellow- workmen, each trained to see and appreciate that which is good
in his schemes, but also with private clients or public bodies to whom his method of
presenting them by geometric projection on paper are more or less unintelligible, and his
technical terms an unknown language. Here is his greatest task, for the Writer's life-
long experience has proved to him that there is nothing more difficult for the lay mind
to grasp than the ultimate effect of a comprehensive scheme for the formation of a
garden. Indeed this could hardly be otherwise in this country, where our habit of
" muddling through " great projects is almost a national characteristic. More than once
have I been startlingly reminded of this when dealing with a client of Latin and particu-
larly French nationality or extraction, and have noted the greatly-increased appreciation
for and grasp of the ultimate result as a whole, and not in compartments and sections,
which such persons have shown, and this without for a moment losing sight of the
necessity for the careful consideration of minutiae. We have only to compare French and
English cities and to note the continuity of effort on the one hand and its utter absence
on the other to realize this.

While the classic examples of garden design, of which this country has so many, are
undoubtedly incomparably beautiful, it is unfortunately true that the garden, as a
means of serious art expression, would never seem to have presented itself to the minds
of most people in this country. Notwithstanding the grandeur of the old Italian pleas-
aunces, the stately magnificence of the gardens of Paris and the more rural beauty of the
English domain, and, more incredible still, notwithstanding the inexhaustible theme which
the garden has formed for the painter, the poet and the novelist, the average Englishman
would seem to be unable to see anything more in it than a place where flowers or trees may be
grown for their intrinsic beauty alone, and quite apart from any collective effect which may
be obtained by the arrangement of the various factors composing the garden as a whole.

Even if the isolated features have individual promise and interest, which must be
patent to everybody, and their disposition and relative functions in relation to one another
are carefully explained by precept and illustration, the ultimate effect is very rarely grasped
until the garden is an accomplished fact, and, even then, the introduction of some much-
prized piece of ornament or equipment which clashes with the whole, shows how little the
" motif " of the design has been realized or the work appreciated.

The successful landscape architect must be able not only to build up in his mind's
eye the whole of the components of his scheme into one harmonious, comprehensive
whole, of which he is able to judge the effect before the commencement of the work, but
he must also possess the gift of being able to present his conception to the minds of
others so sympathetically that they too become fired with his enthusiasm for the ideal,
and grasp enough of the spirit of his work to realize some at least of its excellences.

This is a difficult task, it is true, for between the yearnings of a mind embued with
a high ideal and the preconceptions of the ordinary mind which we call " fashion," there
is a gulf fixed which they who attempt to bridge over will earn for themselves the title
of " Idealist," a title which, though applied in opprobrium, is really a confession on the
part of the critic that he fails to grasp the practical connections of the scheme proposed,
and is not, by any means, a proof that they are unattainable or non-existent.

So much for the training of the landscape architect, now for the ideals which should
influence his work at every turn.

We have already spoken of the broad sympathy with the aims and aspirations of
others which should dominate all he does, and, in addition to this, he must mark his
work with his own art vision. This he will do by the masterly application of the three
factors which, for want of more expressive terms, I have designated realism, romanticism
and symbolism (or, should we say, of mysticism).

Continuity
of effort.

The garden
as a means
of serious
art
expression.

Taste and
fashion.

The ideals
of the
Landscape
Architect.

THE PRACTICE OF GARDEN DESIGN.

What is meant by this, may, I think, be very shortly illustrated by a concrete
instance. Here is a statue of Pan surrounded by his dancing dryads. Looking at it,
the intensely practical man, so dear to the heart of the average Briton, says that, if it
possesses the quality of uniqueness, it is the most important adornment in the garden.
He esteems the work solely according to its rarity, and consequently its commercial
value. The romancist, on the other hand, is seen in the sculptor or modeller, who
judges it according to its artistry, silhouette, mass or detail, and its relation to its setting.
He confines himself, more or less, to its visual merit, and, to him, this is its appeal.
The triumph of the symbolist or mystic is, however, complete. Looking at the statue,
he sees things to others invisible, hears, in the far-off pine-wood, the music of Pan's
pipes at mid-day. All else is secondary, and he yearns, through the medium of his art,
to translate his vision to the understanding of others.

This is his province, to infuse the drab necessities of existence with an inherent
beauty, to divert the common crowd from low ideals by the elevation of their environ-
ment, and to cause those who never really loved art and who resent it as a departure
from their own level of mediocrity, to rise to more worthy aims. Filled with a right
conception of the dignity of his art, and fired with a great desire for its advancement,
he expresses out of his own soul his passion, and persuades his audience to see what he
chooses by materializing his dream, using, as a medium to this end, architecture, verdure,
flowers, and the other materials of his craft, weaving the whole into one rhythmic,
harmonious composition.

The Landscape Architect who can do this, who has the soul of the artist combined
with practical acumen and technical ability, cannot fail to achieve the highest that is
humanly possible — to leave the World a little richer than he found it. Such men must,
of course, be rare, for it is a combination the prerogative of the highest genius. Never-
theless it is the ideal to be aimed at by every man in the profession and, even though he
only partially realizes his aim, in so far as he is successful, his work will attain to
immortality and the fining hand of time, which destroys ruthlessly the meretricious and
hardly conserves that which is best fit to endure, will shew that his work is worthy.

We thus see what an opportunity, and, at the same time, what a responsibility, lie
before the Landscape Architect of to-day if he is to maintain worthily the great traditions
of garden design handed down to him by the garden makers of the past, and adequately
to grasp the opportunities which the rise of a more discerning public has provided him
with. It is with this opportunity and this responsibility in mind that we approach, in
the next and subsequent chapters, the practical details of garden design, and it will be
our endeavour to show how they may be rescued from the pettiness and meannesses
which have done so much to degrade the art of recent years, and how landscape archi-
tecture may be raised to its proper place as mistress of the liberal professions as practised
in this country.

w
>

t-H

Q
X~

D
t/3

CA1

C/3

a
o

IffflE CHOICE j

REATMENT

Choice of
a locality.

CHAPTER III.

In dealing with the subject of this chapter, the choice of a site for a new domain
and the endeavour to develop it on the best possible lines both artistically and practi-
cally, the writer ventures to think that we cannot do better than follow the prospective
owner of a typical country residence through the whole process of choice and develop-
ment, culling such lessons for future application as may be of general use.

The choice of a locality in which to build is naturally the first consideration, though
in most instances there are factors connected with the business and health of the owner
which will considerably narrow the question, and in any case it would be quite beyond
the scope of this work to do more than to touch upon the climatic and hygienic advantages
and disadvantages of the different portions of our Island.

There are great differences in climate and atmosphere in various parts of Britain
and even of the sea-board. The West coast, swept by the Atlantic breezes, tempered
by the moist, warm air of the Gulf Stream, is more genial, if less bracing, than the East
Coast, which is swept by the dry winds that cross the German Ocean, and from the
same cause, the rainfall is much greater in the West than in the East. This is, however,
to some extent compensated for by the mountainous surface and impervious subsoil on
the West coast, which causes the water to flow away quickly from the higher portions
of the land. The broken outline of the North-western coast again speaks eloquently
of the violence of the stern " nor'- westers," though the resulting rugged picturesqueness
may be sufficient recompense in the minds of some persons. The South coast, if we
except the stormy extremities of Kent and Cornwall, provides throughout a genial and
equable Winter resort, though undoubtedly somewhat relaxing in the Summer.

Other factors, however, modify or even reverse these primary climatic and atmo-
spheric distinctions. Thus the lie of the land, its general contours, its altitude with
reference to its surroundings, the dispositions of surrounding hills or mountains, the
proximity and placing of woods and forests, the presence of a large lake all have a
very marked influence.

It cannot be too clearly pointed out that mere altitude, reckoned, say, above the sea level, Altitude.
is of no value whatever. What is important is the height in comparison with its surround-
ings. For instance, a site which is five hundred feet above sea level, but in the bottom
of a mountain valley where the sun rarely penetrates, may be depressing, while another on
the sea coast, which is only twenty feet above high-water mark, may be bracing in the
extreme. The same factors regulate the frequency of or immunity from fog. Mists
always tend to hang in a valley, even though a thousand feet above sea level, which
can easily be seen by visiting a hilly district in foggy weather and climbing the highest
hill, when the top will often be found to be bathed in sunshine and the fog to lie at the

THE CHOICE OF A SITE AND ITS TREATMENT.

Subsoil.

Business
and social
require-
ments.

beholder's feet like an inland sea, the tops of neighbouring hills peering above it like so many
islands. On the other hand, to choose a site at an exceptional altitude on a mountain
side might result in its being submerged in low-lying cloud almost every morning and
evening. The site which will be found to be freest from such visitations is one on a
Southern slope which forms no part of a natural basin.

Another important factor which should be considered by those persons fortunate
enough to be able to choose a site over a large area, is the nature of the subsoil. One
that is pervious, such as those composed of gravel, sand or marl, is healthier than one
which tends to become waterlogged in wet weather or is composed of stiff retentive
clay. The porous soil, however, may become a source of danger through the facility
with which poisonous matter from stables, cesspools or defective drains, can percolate
through it and contaminate the water supply, or give off noxious gases into living rooms,
unless this is guarded against.

It has been maintained that a loamy clay subsoil is preferable to a sandy or gravelly
one, as the former is a slower conductor of heat, thereby maintaining a more even
temperature ; but this is not so, for every sudden change of temperature will be followed
by dampness in the stratum of air next to the ground. It is also said that, in fully
inhabited districts where efficient drainage is enforced, no inconvenience need arise from
building on clay if the foundations are overspread with concrete and the walls damp-
proofed. While it is true that the dangers of a water-retaining soil may be very much
reduced and even almost negatived by such means, it still remains that " prevention
is better than cure " and that, where possible, health and comfort will be always best
served by the choice of an elevated site on a porous subsoil, which is known to lessen
the tendency to diseases such as tuberculosis, asthma, rheumatism, ague and kindred ills
fostered by dampness.

This class of site has also distinct advantages when we come to make the garden.
Not only is a light soil cheaper and easier to move in levelling the terraces and lawns,
but, although much can be done to improve a very heavy soil, apart from the rose
garden, one which is fairly light is preferable, especially for lawns. The paths, too, on
clay land are apt to be greasy and disagreeable in wet weather, and the soil of the beds
either very sticky or baked like a brick.

The elevated site too has its advantages from the gardener's point of view, not only
because it will be more sunny, but because, being naturally drier, plants will not be so
easily affected by frost, which always attacks newly planted shrubs in the bottom of
a valley long before those higher up are affected, and, incredible though it may appear,
many varieties of trees, shrubs and plants luxuriate in an elevated position which would
not grow on lower ground.

There remain the questions of water supply and sewage disposal, the former being
a matter which, strange to say, the author has more than once found to have been
totally neglected until the site has been purchased and even built upon.

Having settled these absolutely essential hygienic requirements, there are many
other questions arising out of the prospective owner's business or social relations, his
personal preferences and those individual idiosyncrasies which, while they are quite
unexplainable on medical grounds, make surroundings which are healthy for most
persons quite unsuitable to the person subject to them.

With regard to our prospective owner's business relations, we shall be stating the
case of a very large number of builders of new residences if we imagine him compelled
to build within easy reach of his place of business but wishing to obtain a site where
his growing family will obtain all the advantages of rural surroundings and healthy
country air, and large enough to allow him to indulge a bent for gardening, arbori-
culture, model farming, or other rural pursuits, such as can be dealt with within the

THE CHOICE OF A SITE AND ITS TREATMENT.

limits of a few acres of land. He will also desire to be within reasonably easy reach
of a fairly efficient shopping centre such as that provided by a county or market town.

This question of accessibility has been greatly altered by the advent of the motor Accessi-
car. Whereas, formerly, a mile or a mile and a half was about the limit which the bility.
business man was prepared to go morning and evening in all weathers to and from the
station, nowadays there are hundreds of instances where the same men travel from five
to ten miles, and that with as little trouble. This, coupled with the steady and continu-
ous improvement which is going on in the train services for business men, has opened up
a very extended radius for choice of residence and has saved many an old Elizabethan
farm or manor house or obsolete coaching inn from destruction and decay.

In other cases, the proximity of one of the large hunts, a yachting centre, a re-
nowned golf course or other facilities for country sports, may take the place of business
requirements.

Personal preferences will differ very much and are often a little bewildering to the Personal
architect. It is quite exceptional for two persons to have the same ideas as to the value Preferences.
of a site, the conditions which appear desirable to one being often wholly objectionable to
another. One person prefers to look on his neighbour's house, and feels more sociable
thereby, while another prefers to be so entirely isolated that even his estate cottages must
be placed out of sight and sound. Most people are, however, agreed on the desirability
of pure air and a sunny situation, the best from the latter point of view being one
which slopes towards a point a little East of South, while the worst is that which slopes
towards the North-west, and in nearly every instance extensive or beautiful views are
courted, and the presence of well-grown timber or hedge rows with young timber trees is
considered desirable. A house built on a treeless field, especially on an elevated site,
appears unsociable, whereas a few well established trees serve, in a way, to link the present
with the past and help the new architecture to blend with the landscape.

When all the factors discussed, hygienic, commercial, social, artistic, geographical, and
personal, have been applied to those sites of about the area required which are available,
it will generally be found that the choice is very narrow indeed, and probably the
question will largely decide itself by the pre-eminent suitability of one particular plot,
though, even when the best has been done, the result will partake of the nature of a
compromise, and many difficult problems will be left for consideration as the work of
development proceeds.

We may imagine, then, that our prospective owner has now made up his mind. To A typical
carry the subject further and show how the site which he has chosen should be treated, s^e.
we have taken from the ordnance map the parcel of ground shown in illustration No. 10.
In extent, shape and contours, it is suitable for a moderate-sized residence, and very
typical of the class of site we have been discussing but at the same time distinctive
enough in its general characteristics to prevent its being treated in any stereotyped
manner. The site, nine acres in extent, is such as might be found in most hilly dis-
tricts, especially in Westmorland, the county in which it is situated. It has been slightly
altered to conceal its actual identity, but the alterations are not such as in any way
to affect its use for the present purpose.

A farmstead with numerous outbuildings formerly occupied a level site indicated on ns aspect
the plan in the largest of the six fields which, with the two plantations of well-grown
timber in good condition and the two coppices to the South and East, make up the nine
acres. All are fenced with the rough stone walls characteristic of the district. The
appearance of the plantations suggests that they may be the remains of a general clearing,
the whole nine acres, with the exception of a portion of the lower field, being formerly
covered with timber or coppice wood. The general fall of the land is to the South-
east and a tumbling stream enters the ground near the North-west corner and passes to

THE CHOICE OF A SITE AND ITS TREATMENT.

taix- H Iff Km
B rant iinkfl

Pack -Road

FIG. II. — PLAN SHOWING MANSION AND ADMINISTRATIVE BUILDINGS GROUPED FOR

COMPOSITE EFFECT.

Lower Portion, Shewing Yew * Walk and Lake

^43

FIG. 12. — SECTION THROUGH GROUNDS TO A COUNTRY HOUSE.

THE CHOICE OF A SITE AND ITS TREATMENT.

placing the house on the site, for while the landscape architect will wish to compose the
whole subject with the dominating feature, this is useless without the aid of the domestic
architect in the placing and arrangement of the chief entrance door and the windows to
the leading rooms. If the house is to be complementary to its setting, its arrangements
must, in a great measure, be ruled by the design of the latter, and its architectural
details be conceived in the same spirit. There is room for hearty co-operation also
in the disposition of the service buildings, for while the domestic architect designs
the culinary offices, the landscape architect places and arranges the kitchen garden, and
efficiency demands that they shall be reciprocally planned; and the same principle
applies to every other feature.

Considered from the landscape architect's standpoint, the chief essential of the plan-
ning of the house and its dependent buildings is that they shall be grouped so as to
provide the most economical and practical arrangement which will cause the smallest
amount of unremunerative labour and running to and fro. The logical deduction from
this statement is that the whole — mansion, stables, lodges, laundry, garage, and outbuildings
—should be designed as parts of one block, and that this can be done without disfiguring
the mansion or destroying its privacy will be seen from illustration No. n, which shows
the plan of the house and administrative annex as designed to suit the particular plot
of ground we have been discussing.

In recent years, there has been a tendency to detach the stables and laundry and Centraliza-
as many other buildings as possible from the main block, the stables being in one tion in
place, the laundry in another, the kitchen garden in another, and the workmen's cottages planning.
away from the place altogether, with consequent waste of time as well as lack of
composite architectural effect. Doubtless this state of things has, in the past, had its
raison d'etre in hygienic considerations, but the high position to which sanitary science
has now attained removes all objections not of an entirely sentimental nature.

Having thus disposed the principal buildings on the ground in collaboration with The
the domestic architect, we may now proceed to arrange the surroundings; but before question of
doing so it is necessary that we should study the question of upkeep. Owners of new upkeep.
places very properly give careful consideration to the question of the cost of the form-
ation of their gardens, but how few give any thought at the time to the still more
important question of annual maintenance. We will suppose, therefore, that the owner
of the plot we have under consideration desires to limit the amount devoted to the
annual upkeep of the grounds to £350 : o : o. In such a case we must so arrange
our plan as to limit the expenditure as follows : —

Head Gardener 30/- per week with cottage Per annum

Second gardener 22/- do. do. do.

Two garden labourers i8/- do. do.

Strong youth io/-

Seedsman's account for seeds, bulbs and sundries

Nurseryman's account for fruit-trees, shrubs for making up, etc.

Coke and coal for heating, peat, loam, silver sand, etc.

Sundry expenses

Balance

£350 oo*

* Nothing is allowed in this statement for interest on money sunk in lodges and cottages inhabited by
gardeners, as the exact proportion of this to be credited would be difficult to apportion and would vary in
each case.

. 78

THE CHOICE OF A SITE AND ITS TREATMENT.

FIG. II. — PLAN SHOWING MANSION AND ADMINISTRATIVE BUILDINGS GROUPED FOR

COMPOSITE EFFECT.

Lower Portion, Shewing Yew=VaIK and Lake

FIG. 12. — SECTION THROUGH GROUNDS TO A COUNTRY HOUSE.

THE CHOICE OF A SITE AND ITS TREATMENT.

Considered from the landscape architect's standpoint, the chief essential of the plan-
ning of the house and its dependent buildings is that they shall be grouped so as to
provide the most economical and practical arrangement which will cause the smallest
amount of unremunerative labour and running to and fro. The logical deduction from
this statement is that the whole — mansion, stables, lodges, laundry, garage, and outbuildings
—should be designed as parts of one block, and that this can be done without disfiguring
the mansion or destroying its privacy will be seen from illustration No. u, which shows
the plan of the house and administrative annex as designed to suit the particular plot
of ground we have been discussing.

£ s. d.

Per annum 78 o o

•• 57 4 o
. . 93 12 o
. . 26 o o

22 O O

. . 1800
• • 35 o o
16100
3 14 o

£350 oo*

Head Gardener 3O/- per week with cottage

Second gardener 22/- do. do. do.

Two garden labourers i8/- do. do.

Strong youth io/-

Seedsman's account for seeds, bulbs and sundries

Nurseryman's account for fruit-trees, shrubs for making up, etc.

Coke and coal for heating, peat, loam, silver sand, etc.

Sundry expenses

Balance

THE CHOICE OF A SITE AND ITS TREATMENT.

Extent of
grounds and
proportion
of their
parts.

The indi-
viduality of
the site to be
preserved.

Of course the items will vary somewhat in different years, but the total can be
kept fairly constant by so laying out the grounds as to limit the amount of bedding out
or other features which entail a great deal of extra work. An incoherently planned
garden entails more work than one artistically designed. Broad level stretches of lawn,
with a few quaint box-edged flower-beds filled with old-fashioned perennials, require much
less expenditure of labour than undulating slopes of grass cut up by tortuous walks and
shrubberies laid out in exaggerated curves.

Other practical matters influencing the ultimate design must be considered at this
point. The first is the scale and extent of the grounds and the relative proportion of
the various parts. With regard to their scale and extent, after the question of cost,
the size and importance of the mansion, together with the social status of the owner,
will be determining factors, while the size of his establishment will decide the extent of
the kitchen garden, orchards, laundry greens and other more utilitarian features ; and the
ages and interests of the members of his family and the amount of entertaining he
proposes to do will regulate the number of tennis or croquet lawns.

These requirements, if altogether fulfilled, take second rank to the ideal desideratum
that the garden should be a proper setting to the house, in which capacity it serves the
double purpose of foreground to the landscape when viewed from the house, and at the
same time provides a base or setting for the house when viewed from a distance. The
garden is thus the link which connects house and landscape

Unfortunately prospective builders usually approach the task of garden construction
with preconceived ideas as to what is desirable, and proceed to make the site conform to
their ideas, instead of moulding their design to fit the site, thus putting " the cart before
the horse." The bane of modern garden design, as of much contemporary art, is its
inappropriateness, objects which would grace certain surroundings being obtruded among
others totally unsuitable ; but the true artist always gets his inspiration from Nature,
in this case from the site. By all means have a general idea of your requirements
before commencement, but, when you come to the site, then begins the problem which
differs from all others, and is the delight of the true architect, who, grouping the
necessary features conveniently and compactly, at the same time adorns them with an
expressive shape and form which accord happily with the prevalent characteristics of
the site and local traditions, using the ready-to-hand local materials wherever possible.

The late J. D. Sedding speaks very emphatically on this point. He says : — " The
gardener's first duty in laying out the grounds is to study the site and not only that
part of it on which the house stands but the whole site, its aspect, character, soil,
contours, sectional lines, trees, etc. Common sense, economy, Nature and art alike
dictate this."

' There is an individual character to every plot of land as to every human face, and
that man is unwise who, to suit preference for any given style of garden, or with a view
of copying a design from another place, will ignore the characteristics of the site at his

disposal To leave a house exposed upon the landscape unscreened and unterraced

is not to treat the site or house fairly."

Another point we should bear in mind before setting to work to develop the site is
that a garden should impress the spectator as being a place for flowers rather than shrubs,
and should always have a cared-for appearance. The arrangement, also, should rather
suggest a series of outdoor apartments than a panorama which can be grasped in one
view. Art is well directed in arousing curiosity, " always inviting further exploration,
to be rewarded with new but never final discovery." A garden ought also to proclaim
itself as having been made for the accommodation and enjoyment of Nature's bountiful
supplies.

The first features to receive the attention of the designer will be the entrance drive

THE CHOICE OF A SITE AND ITS TREATMENT.

and service road. For the details of this work the reader is referred to a subsequent
chapter. It is sufficient here to point out that, as already arranged, the house is placed
near the old farmstead on a natural plateau about two hundred yards long from East
to West and eighty yards broad, and, as the railway station is about three miles distant
to the North-west, the most convenient position for the entrance will be as shewn
on the plan (No 10). This demands that the service road and the kitchen garden,
laundry green and offices should be to the North-east of the main block. Had the
main bulk of the traffic approached from the opposite direction, and the entrance there-
fore been placed near the North-east corner, the conditions would have been more
ideal.

The kitchen garden, which is in direct communication with the service block, is,
with the surrounding borders, an acre in extent. It is surrounded by walls, that on
the North-east side being ten feet six inches high, built of the local stone with a pro-
jecting coping and with weather boarding as described in the chapter on kitchen gardens.
It has also wires strained horizontally on its South-west face twelve inches apart for the
training of fruit trees. The wall dividing the kitchen garden from the pleasure grounds
is furnished with pilasters twenty feet apart to impart character to it, and, for a short
distance from the garden house at the Southernmost corner, wrought iron panels are
inserted in the wall to allow extended views in this direction. At this corner of the
kitchen garden the ground is raised on the outside so that there is space under the
garden house for a store for tools, etc., with an opening into the kitchen garden. The
garden house and the wrought iron bays in the wall are clearly indicated at the right-
hand end of the lower portion of the section (111. No. 12). In order that the kitchen
garden may be used for promenading, as suggested in a subsequent chapter, a long walk
is formed communicating with the pleasure grounds and forming, at its Western end,
a part of the upper terrace.

Having thus disposed of the more utilitarian portion of the grounds, the pleasure
gardens must now claim our attention. Here greater regard must be paid to the ex-
isting natural features than on a site devoid of natural beauty and, in order to preserve
the coppice woods, the formal gardens are somewhat smaller than would otherwise have
been the case. Apparent extent is, however obtained by means of the very strongly
marked axial line at right angles to the South front of the house, which is continued
across the lake by the garden temple on the opposite bank, as may be seen from the
plan (No. 10), and which has necessitated the drawing of the sections (No. 12).

Working outwards from the front of the house along this section line, we must dis-
pose the levels of the made ground in accordance with the fall of the land considered
in conjunction with the height of the house and the breadth of frontage, being careful
at the same time to allow for an equal amount of cutting and filling so as just to use
up all the material excavated, and to arrange so that very sudden changes in level
with consequent engineering feats in the way of strong retaining walls are avoided.

The principal terrace is approached from the house either from the conservatory or
loggia at the South-west corner or the garden entrance from the drawing room, which
opens into the covered way leading to the glasshouses in the kitchen garden (No. n).
It can also be reached from the carriage drive through a wrought iron gate in an arched
opening in the wall which divides this terrace from the drive. Its width is forty feet,
which is made up as follows. The border next to the house is seven feet wide, then
comes seven feet six inches of grass which divides it from the walk ten feet across, and
beyond this there is fourteen feet of grass between the walk and the wall, the thickness
of which makes up the forty feet.

It is proposed that the upper terrace shall be supported by a handsome balustraded
wall, and a broad flight of steps in the centre of this leads down to the lower terrace

Entrance
drive.

The kitchen
garden.

Main axis
of pleasure
grounds.

The

principal

terrace.

THE CHOICE OF A SITE AND ITS TREATMENT.

on the South-east side of the house, while another flight leads to the tennis lawn on
the South-west. The latter lawn, with its surrounding flower borders, forms a third
terrace constructed to a level somewhere between those of the other two, and, owing to
the nature of the contours, it is only possible to make it large enough for one court.
Others could, if necessary, be provided on the open ground to the North-east of the
house.

The lower The lower terrace is arranged with a view to breadth of effect. It is intended that

terrace. effective use shall be made on this terrace of free-flowering perennials and roses to give

brightness and colour, but
they will be concentrated to
prevent a spotty effect and
also to emphasize the central
axial line of the composition,
leaving the rest of the terrace
free for broad, unbroken ex-
panses of lawn.

Following the safe prin-
ciple already enunciated, that
the further we' proceed from
the house the freer should
be the treatment of the
details of the garden scheme,
the retaining wall of the
lower terrace, instead of
being finely wrought and
balustraded like that between
it and the higher terrace, is
simpler in design and treat-
ment, being built in the local
random-coursed ragstone
with a plain coping, but, to
prevent baldness, buttresses
are placed at intervals with
pier caps and finials over
them, thus breaking the
straight line and helping
the perspective.

Further still from the
house the formal arrangement
is continued by the walk
down to the lake, which,
instead of walls, is enclosed
by the clipped holly hedges
FIG. 13. shown on the upper portion

of the section No. 12, thus

ensuring a still freer treatment, for however truly the greenery is clipped, it can never
have as hard a line as a wall would.

The Lake. To dam up the stream so as to restore the lake to its original levels is an obvious

necessity, and to prevent any hard break between the formal and the natural in the
arrangement where the path from the house meets it, a bridge is suggested connecting
with a garden temple on the opposite bank.

LAY-OUT- OF- GARDENS

MAE SKLDDCB -NEWPORT

& G--BREWER -WILLIAMS-BO

THE CHOICE OF A SITE AND ITS TREATMENT.

There remain only two other prominent features for consideration, the stream and the The
paddock. The former is left much in its natural state with the exception of the insertion Paddock.
of a little rockwork such as that shown in illustration No. 261, and the enlargement of
some of the pools to accommodate aquatic plants. The paddock is placed to the South-
east of the house with convenient access to the public road and is brought into the
garden scheme by the arrangement of the plantations both within it and near its boundary.

Of the planting it is not necessary to speak at length as the whole subject is dealt
with in a subsequent chapter. The chief points are to ensure shelter at one or two points
and to frame and enhance the existing views to the South.

FIG. 14.

We have thus glanced briefly over all the more prominent of the many problems which j-fo vaiue
beset the prospective owner of a new domain in choosing his site and deciding the broad lines Of compact-
on which it is to be developed. Details must be left to be dealt with, each in its own separate ness in
chapter. It is of course impossible to illustrate every point in this complex undertaking from planning.
one site, however typical that one may be. Thus, the value of compactness and agreement
between the several indoor and outdoor departments of a country residence cannot be over-
estimated. How far this principle may be carried is shown on the plan in Illustration No. 13,
of a house and garden now in course of erection in South Wales. The site is a very elevated
one, with a slope to the South-west, though on the Eastern side there is a partly level stretch
extending to the highway. As the house has been developed from an old cottage and farm-

THE CHOICE OF A SITE AND ITS TREATMENT.

stead it will be seen that the plan is almost ideal in its compactness and convenience for
economical working.

Exceptional In other cases, family, social or commercial interests may outweigh all other con-

sites. siderations and lead to the adoption of a site which, though ideal for a picnic or excur-

sion, does not possess those qualities usually sought for in a domain. Unpromising
beginnings, however, often lead to the most interesting results as may be seen from the
gardens shewn in Nos. 14 and 15. The first one is known as the Flagstaff, Colwyn Bay,
and crowns an eminence which, up to recent years, was the best known point of
interest in the neighbourhood, and so appealed strongly to the purchaser, Walter
Whitehead, Esq.

A GARDEN * BUCKNGHAMSHIRE:
a LEVEL COPPICE
PLANTATION

rHOMAS M MAWSON S SON3
LANCASTER LONDON
TORONTO t- NEW-YORK

FIG. 15.

The second of these gardens is a wooded and level area of seven acres in Buckingham-
shire which already possessed a few fine oaks and has been planted all round with a wide
belt of trees, of about thirty years' growth, giving on all sides a ragged sea-saw line and
effectually cutting off any view of the open country. Though flat, the ground is well
elevated, and, from a raised platform erected on the spot chosen for the house, it was
possible to take a survey of the surrounding country, composed of well-timbered rolling downs
almost entirely free from buildings. From this platform radial lines were drawn on the
survey plan in the direction of the best views, and both house and garden planned in
relation to these. This involved the felling of a number of young trees and the opening of
glades which not only framed the distant views but let a flood of light into the grounds.
To ensure that the best views shall be obtained from the entertaining rooms, the house
is raised above the mean level and supported by a terrace wall, the tennis lawns
being sunk to give it a still further appearance of elevation.

FIG. 16. — GATE PIERS AT VILLA CARLOTTA.

CHAPTER IV.

First

impression
gained from
style of
enhance.

No parts of a scheme for a residential property call for such thoroughness or mature
deliberation as entrances and carriage courts. Here at the entrance are obtained the first
impressions of the domain, which, like all first impressions, either of a person or of any-
thing else, are the ones which last. Existing examples present every gradation from the
cheap modern over-pretentious arrangement, to the entrance which properly suggests the
impersonal and dignified charm of a truly English home, under whose subtle spell you
fall immediately you enter its precincts. This noble type of work, characterised by ample
proportions, and yet by restraint and quiet dignity, is what all true designers seek to
create, only to find that it is the most difficult to achieve. The same qualities of
orderly restraint and quiet dignity are essentials of the forecourt, but here the opportunities
are greater. A well-considered grouping of house, stables and outbuildings round a
sufficiently large space will usually assure an aesthetic composition which needs only a
pair of piers and a short enclosing wall to complete it.

The design of an entrance, whether in the form of gate-houses, lodge-entrances or the
more simple and homely arrangement which gives character to many a suburban residence,
has a greater bearing on the aesthetic qualities of the residence than many persons suppose.
It gives the first impression, and ought to provide the keynote to what follows. This
keynote should above all things be truthful, and prepare the mind and eye for what is
to follow. For instance, the classic proportions and detail shown in illustration No. 17 is a
natural prelude to the beautiful residence in the Italian manner two hundred yards distant.
And that shown in the heading to the next Chapter equally prepares one for one of
those quaint yet stately Georgian houses of which one finds so many good examples
near London. Of course where an entrance is placed far away from the house, then
the local note which accords with the landscape ought to be more pronounced.

This index to the architectural qualities of the property is capable of much greater
development than the mere differentiations between the entrance to a ducal domain and
that to a mountain lodge or shooting box. These mark the two extremes, and are not
difficult to attain. Scale and refinement would most beseem the one, and rugged
picturesqueness the other. What is much more difficult, but none the less important, is
to interpret, in the lodges and entrance as a whole, those subtle distinctions not only of
style and scale but also the finer qualities of perfect harmony with environment and the
expression of the social or intellectual ideals for which the family may be noted. Just
as it may be said that a place fits the family, so the entrance should fit the place.

On large estates, old and semi-retired servants are often placed in these lodges, the Lodges.
wife to attend to the gate, the man to keep the entrance clean and tidy. Under these
conditions the lodges are usually very small, and often of one story only, the architectural

Fitness and
scale.

ENTRANCES AND CARRIAGE COURTS.

FIG. 17. — ENTRANCE TO THE GROUNDS OF A RENAISSANCE MANSION.

,? V-'"

FIG. l8. — A SIMPLE ONE-STORIED LODGE BUILT OF LOCAL MATERIALS.

ENTRANCES AND CARRIAGE COURTS

FIG ig. — SMALL ONE-STORIED LODGE.

(THE LATE MR. DAN .GIBSON, ARCHITECT.)

emphasis being gained by massive gate piers, beautiful wrought-iron gates, and fine wing
walls. On the other hand, if the lodges are to be occupied by the gardener or other
active servants, they might be treated as the architectural tour de force of the entrance,

the gates, piers and wing walls being designed on
simpler lines. Illustrations Nos. 18 and 19 show
simple but convenient forms of small, one-storied
lodges, each having a living room, scullery, two
bedrooms, a porch and larder, with the usual
conveniences, while gate-houses, as distinct from
other forms of lodges, invariably need the close
association of other buildings, and are usually
placed very near the residence, either at one side Gate-houses.
of the carriage court, as in illustration No. 22, and
as in the well-known example at Borwick Hall,
or on the side opposite the main entrance to the
house as in No. 86. In the older examples these
were seldom placed further away than in the
well-known gatehouse at Charlecote, unless treated
as the entrance to some lordly domain from the
town or village, or, in very exposed positions, to
give shelter to the grounds as in the case of those shown in illustrations Nos. 81 and 82.
The twin lodges (111. No. 21), designed in connection with one of the principal
entrances to Pittencreiff Park, Fifeshire, provide, in their general grouping and composition,
a transition from the gate-house to the pair of lodges ; these were to stand some distance
from the house, up to which there is a wide straight avenue. When a gate-house, with
an arch enclosing a view over the park or gardens is adopted, such an arrangement as
that shown in illustration No. 23, planned and erected for Earl Beauchamp at Madresfield,
allows of very varied treatments.

Single lodges usually require much more careful planning in relation to the site than
double lodges, for in the latter case, provided the drive is at right angles to the public
road, and continues for some distance in a straight line, the mere balance of parts secures
a certain imposing effect. Single lodges are usually erected in positions where the drive
takes an oblique or curving line from the road. Here the lodge must be placed, and the
windows of the living room arranged so as to secure a long view of the road on one side
and the drive on the other. This often leads to a certain picturesqueness of outline and
composition and an originality of treatment which may give an individual charm to the
entrance.

This position of the lodge, in relation to the direc-
tion from which carriages approach, and to the ease
with which the gates can be opened by the attendant,
is important. The arrangement aimed at is usually to
obtain the longest view of the drive and of the public
road, so that the attendant may have due warning
of the arrival of vehicles. How this can be accomplished
is seen in the accompanying plan (No. 20), the curved
line representing the course the carriage would take
in driving to the residence. As indicated by the
radiating lines, the living room has a bay window A

Placing of
the lodge.

FIG. 20.

commanding the drive in both directions, and the entrance porch B is within seven
yards of the centre of the gateway. If after passing the gates, the drive curved in
the opposite direction, an additional window would be required at E.

ENTRANCES AND CARRIAGE COURTS.

T)UNFERMLINE PARK
//ENTRANCE-LODGES

FIG. 21.

FIG. 22. — THE CARRIAGE COURT " WOOD," DEVONSHIRE.

ENTRANCES AND CARRIAGE COURTS.

LODGES -AT

MAESRCDDUD

NEWPORT-MON

Lodges placed a little distance back from the wing walls are the most pleasing, though

the many considerations which influence their position make it difficult to lay down a

general rule. The ground may rise so rapidly from the entrance, as in the case shown in

illustration No. 24, as to give the lodge
a stilted appearance if set back, or it
may fall so rapidly as to compel their
erection close up to the wing walls, when
it is necessary to bring the lodge closer
to the road. An example of double lodges
demanding a very open treatment is shown
in the heading to Chapter VI. These
were erected as the entrance to Brook-
landville, an old colonial classic residence
some twenty miles West of Baltimore,
U.S.A. Although the public road was
wide enough, the macadamized part was
very narrow, and therefore it was
desirable to provide stretches of grass
outside the gates, and give to the latter
added importance by the provision of
wrought-iron grilles. Illustration No. 23,
shows two lodges designed by Mr. E. P.
FIG. 23. Warren for a client in South Wales ; the

ground floor of that on the right and

the upper floor plan of that on the left being shown. The drive, as planned by the

author, is for a considerable distance perfectly straight, and is planted as a broad avenue,

which when fully grown should make a dignified approach to a fine modern mansion which

occupies an elevated

site. In No. 25

are illustrated a

pair of workmen's

cottages as lodges,

placed at some

distance from

Dunchurch Lodge,

Rugby, and at the

junction of the drive

with the Rugby

road, and designed

by Gilbert Frazer,

Esq. Unfortunately,

the photograph was

taken before the

climbers and sur-
rounding plantation

had been given time

to add their pictur-
esque and softening

touches to the com-

Double
lodges.

FIG. 24.

position. There is another lodge of more distinctly architectural pretensions at
entrance to the gardens.

the

ENTRANCES AND CARRIAGE COURTS.

FIG. 25. — ESTATE WORKMEN'S COTTAGES AT DUNCHURCH LODGE, RUGBY
GILBERT FRAZER, ESQ., ARCHITECT.

FIG. 26. LODGE AND GARAGE BY W. LEIPER, ESQ., F.S.A

ENTRANCES AND CARRIAGE COURTS.

Owing to the happy combination of homely circumstances they present, both single
and double gate lodges placed at the ends of long park drives often blend perfectly with
their picturesque landscape surroundings, suggesting to the passer-by a scene of peaceful
habitation. It is this delightful homeliness above every other quality that is to be
sought in lodges when far removed from the mansion ; in these and similar positions
rustic character need not be sacrificed to style. Given the right surroundings, this is much
to be preferred to making the lodge appear as an offshoot from the mansion. Illustra-
tion No. 18 gives a solution of this problem of an entrance so far removed from the
mansion as to suggest a design which harmonizes with the district of which it forms
a part, rather than the mansion to which it belongs.

In choosing a position for a lodge, although a backing of foliage is desirable, do
not place it amidst or too near trees, but allow ample space for sunshine and flowers.
A common mistake is to omit the yard and provision for the ordinary household re-
quirements, such as drying clothes, which can be arranged with privacy by enclosing
a piece of ground within hedges or walls.

All examples referred to so far are connected with more or less extensive domains.
There is a tendency for them to become sub-divided to meet the growing demand for
small compact country residences which the motor car has brought within the reach of
so many persons who for business reasons have hitherto been compelled to reside near
railway stations. Such properties are often small in extent, ranging from five to twenty
acres, which must be so developed as to secure the delights and conveniences of larger
estates. They must therefore be carefully and compactly planned, providing, in addition
to a good garden for use and ornament, a small garage or stable, with chauffeur's apart-
ments, coachman's or gardener's cottage. Here necessary compactness of plan often
leads to a most effective grouping of garage, stables, lodge and entrance. The result
is usually better than a series of scattered buildings, and indeed often adds a note of
interest to the garden. Illustration No. 26 shows such an arrangement. Here the
residence stands on an elevated site and is some one hundred yards distant. This
picturesque and well-planned group was designed by Mr. Lei per, A.S.A., of Glasgow.

The grouping of the necessary accessories to small country houses will undoubtedly be
further developed, and out of this may grow a distinctive character and style ; but, as
each site will need special consideration, no fear need be entertained of monotonous
repetition.

It has always appeared to the writer, that the suburban house, on a site of perhaps
only two acres, requires greater care in its placing than any other ; such houses when
built on the South side of the road, are invariably placed near the public highway, with
little more than a carriage court or even only a covered way (111. No. 27) to separate
them. Formerly the house was often a plain Georgian structure, with a beautifully
designed portico entrance. This refined and scholarly phase of English domestic archi-
tecture, whether near a town or in the country, calls for a corresponding solidity and

richness in the entrance piers, wing walls, and gates. At
Farfield House, near Bolton Abbey (111. No. 48), piers
stand at either side of the entrance to the North Garden,
which was probably at one time the carriage court. The
wrought-iron gates, which from their position and proportions
must have been very beautiful, have disappeared. The
Carshalton gates and piers are better known, but both
serve to show how much the architects of the later
renaissance valued the entrances as points of emphasis, often restraining expenditure on
the house that they might enrich them.

The gate piers at Wood, a modern residence on Dartmoor, are of more modest

Grouping of
garage,
stable, lodge
and
entrance.

Houses
near the
highway.

ENTRANCES AND CARRIAGE COURTS.

FIG. 28. — ENTRANCE TO A DOMAIN IN DEVONSHIRE.

FIG. 29. — ENTRANCE TO CARRIAGE COURT, DUNCHURCH LODGE, NEAR RUGBY.

ENTRANCES AND CARRIAGE COURTS.

GATC PFRS j ItZZO

i (5 owl near c/afeKnam /flr

: HALSEY ,

dimensions, and on that account perhaps better adapted to the majority of entrances
(111. No. 28). They are *built of roughly squared granite, with simply detailed capitals to

permit of the molds being cut by
local workmen, the whole sur-
mounted by lead urns. Other
columns of similar height, but in
brick, are shown in No. 34. Others
in brick and tiles and octaganal
on plan are shown in illustration
No. 35.

Where a homely quaintness is Gate piers
sought after rather than archi- and local
tectural expression, much may be material.
done with the simplest local
material, whether brick and tile,
granite, limestone, millstone grit, or
slate rock as in Westmorland and
North Wales. Where there is
neither rock nor brick of sufficiently
good quality to stand the strain
of gates, then any material which

FIG. 30.

comes handiest may be built up

in cement and completed in cement rough-cast, with a flag or simply dressed cap, which
may be surmounted by a ball, sugarloaf, or other suitable finial. An example in rough
stone is given in No. 31, and of
brick in Nos. 34 and 35.

For the gates themselves, . ^J . Wrought

wrought iron in some form . ir^BSJMl 3Ba3 'iron gates.

or other, either plain or
ornamental, is the best. No
reference has been made to
those fine achievements in the
smith's art which are the fitting
accompaniment of the palatial
mansion, but a study of them is
not only interesting but helpful
to all who contemplate the
erection of new entrance gates,
even though they may necessarily
be on a more modest scale.
Considered from the practical
point of view however, wrought
iron lasts longest and needs
little repair beyond an occasional
coat of paint. Unfortunately no
material lends itself so readily
to the manipulation of the
wholesale manufacturer who, by
his machinery, supplants the

craftsmanship of the worker. In
no branch of applied art does

FlG. 31. — A SIMPLE ENTRANCE IN GRANITE AND WROUGHT IRON.

Gates in
wood and
iron
combined.

Wooden
gates.

ENTRANCES AND CARRIAGE COURTS.

the skill of hand and head of the worker count for more than in the forging and
fashioning of iron, and for this reason a perfectly plain gate carefully constructed is better
than an elaborate one turned out by machinery.

As some proof that the clever craftsman is
still with us I illustrate three recently constructed
carriage gates. No. 28 shows the gates at
" Wood." No. 29 the gates to the carriage court
at Dunchurch Lodge, near Rugby, and Nos. 32
and 33 to the principal entrance, Little Onn
Hall, Staffordshire.

A combination of wood and iron has often
been tried, sometimes with success. There seems
no valid reason why this combination should not
oftener have been resorted to, except on the
ground of the difference between the lasting
qualities of the two materials used. Here are
two designs, Nos. 34 and 35 which combine both
materials, the iron being treated constructionally
to strengthen the woodwork and the gates as
a whole. Teak is an excellent timber to use in
conjunction with iron, and so is English oak,
but pine, even when well painted, seems to decay
quicker by contact with it.

For most people an oak or painted gate
must suffice. For detached villas and even larger FIG- 32.— ENLARGED DETAIL OF FIG. 33.

houses, well-designed gates, partly panelled or arranged with open bars and strong
substantial strap hinges and hung to squat, strongly-built stone or brick piers, such as
those given in illustration No. 69, are both effective and inexpensive. Over-elaboration

«, ? V ",

FIG. 33. ENTRANCE GATES AT LITTLE ONN HALL, STAFFORDSHIRE.

ENTRANCES AND CARRIAGE COURTS.

spoils, and at the same time adds unnecessarily to the cost. Simple, well-proportioned
gates, of good construction, are invariably the most satisfactory, whilst the money thus
saved would often pay for the erection of stone or brick hanging piers. Gates which are
not constructed on the principle of the five-barred gate, i.e., with diagonal braces, are
better in pairs. The usual setting-out widths for entrance gates, from that for a main
entrance to an important property down to a single gate to a suburban villa and wing
wall, are shown on illustration No. 36.

FIG. 34.

FIG. 35.

In planning the wing walls every designer naturally has his own ideals as to what Wing walls.
will suit any given position. Practice, and failures in practice, yield useful object lessons
and settle points which, although they involve a few restrictions, repressing flamboyancy,
yet eventually help towards right methods.

As previously stated, the distance from the line of roadway to the entrance gate is
dependent on many things. If the drive runs at right angles to the road, it is advisable
to place the gates far back to allow a turn of large radius for carriages. If the public
road be narrow in proportion to the amount of traffic upon it, it becomes all the more
necessary to have some form of well-recessed wing walls.

FIG 36.

Broadly speaking, there are three forms of wing walls, viz., the bell and cup shapes,
formed by convex and concave lines, and a combination of the two by O. G. lines. They are
shown in the accompanying sketch (111. No. 37), and of these there are many variations
and developments, such as splayed wing walls. For entrances placed at right angles to
the road, the cup-shaped plan is generally most effective, as it allows a good outside
green, which may be protected by posts and chain. The next best is the O. G. line ; but
for drives entering at irregular angles the bell-shaped is preferable, the convex lines being

ENTRANCES AND CARRIAGE COURTS.

Laying out

more adaptable to an unsymmetrical plan and wing walls of unequal length. Where the
entrance is at the end of a street, as in the accompanying sketch plan (111. No. 38),
and the residence is of sufficient importance, the outer pillars are effective if in a line
with the outside width of the street, the wing walls, being concave, describing a quarter
of a circle ; or frequently a good effect may be obtained without
placing back the line of the gate, by simply arranging the gate piers
in a line with the boundary fences.

The most difficult entrances to set out with satisfactory lines
are those which are of irregular shape, i.e., with unequal wing walls.
Nothing could be more deceptive to the uninitiated than the effect
of curves. Somehow, even when they have had much careful planning,
they lose that easy flow of line which on paper looks so pleasing, for
there is all the difference between a flat scale drawing and the lines as
laid down and viewed in perspective. When dealing with a long

FIG. 37.

Carriage
courts.

'Jttje

curved wing curved wing wall to an entrance as in illustration No. 20, a good method is to have
walls. the ground roughly graded and a rope line laid down along the proposed curve. For

this purpose, obtain an old cart rope, or any rope or long garden line, free from stiffening ;
tie one end to a peg fixed at the point where the wing wall is to strike the pillar, and
fix a second peg at the extremity of the curve ; having thrown out the line between these
two points, walk from the first peg along the proposed line of fence with rope in hand,
allowing it to pass lightly through the half-closed fingers, repeating the operation until
the line is pleasing to the eye. Having fixed the curve, place ranging poles at regular
distances along it, and imagine the inter-spaces
brick or stone wall, when the result will generally
be to make the line longer or flatter by carrying the
first peg further along the road. Curved lines always
appear more full and rounded when viewed in
perspective. If some architectural character and
dignity are desired, then from these actual lines
make a survey, and thereupon design the elevations.
The carriage entrance, if sufficiently important,
should be provided with side gates for pedestrians on
one or both sides ; these may be any width from
three to five feet, and the parapet or sidewalks,
where these exist, with proper kerb and channel
terminating against the pillars. The opening for a
carriage gateway is usually 12 feet, but if the gate
pillars and general arrangement are on a large scale,
14 feet is not too wide ; but these dimensions cannot

as a rule be exceeded with satisfactory results. FIG. 38.

Where wrought iron is used and a very open effect

is aimed at, fixed side panels with strongly braced and strutted hanging bars may
be adopted.

In the old examples of carriage courts or turns, the shape and size are decided
by the plan of the house, of which they were really a part. The house was sometimes
arranged as a square, with a court in the middle, or as an " E," " H," or " L," shaped
block of buildings, with the court in one of the recessed parts. In an " E " shaped
plan, as No. 39, the central wing often consisted of the entrance porch only, leaving the
end wings to project a long distance beyond. In the " H " plan the recess at one end was
often used as the carriage court, and the one at the other end as kitchen court. In the
"L" plan the court was protected on one side only. At Blicking Hall, Norfolk, there

ENTRANCES AND CARRIAGE COURTS.

FIG. 39.

is an inner court, the space for carriages being between the stables on one side and
the offices on the other. In many cases there were two carriage courts, a plan which
has been adopted for Graythwaite Hall (111. No. 41), and which may in future have to

be resorted to in those

places where the existing

court cannot be enlarged.

In the planning of a

modern house this is

seldom done, the chief

entrance being on the line

of the main block, or at

the end of a projecting

wing, with no building

whatsoever to flank either
side of the carriage turn, and usually no
terraces on the entrance side ; the park,
pastures, and natural portions of the
grounds being allowed to run up to the
edge of the gravelled carriage space. This
change of plan is probably responsible for
the curved or circular form of court, the
absence of architectural limitations giving

the landscapist an oppor-
tunity of introducing his

curves, as in illustration

No. 40. This feature is

one of the most sensible

things he has ever devised,
.because the shape, if well

considered, indicates the

lines which a carriage
FTC, 40. would most naturally

follow when driving to or
from the front entrance.

In certain recent examples, especially
where Georgian traditions are followed,
there is a tendency to return to the
architectural carriage court, by enclosing
the remaining side with gate-houses or high
masonry, as at Wood, N. Devon, (111.

No. 22 ),

and at

Th ornton

Manor,

where the carriage court is enclosed from the public

highway by the gatehouse illustrated in Nos. 81 and 82.

In others a pleasing and protected court is formed by

projecting the kitchen wing on one side (the windows

being arranged on the opposite side), and the billiard wing

on the other, frequently enclosing nearly the entire court.

This desire for a well-screened carriage court is eminently

FIG. 42.

GG/WTHWAITE

• MALL

UMP5T01W"

FIG. 41.

Shelter for
drivers.

ENTRANCES AND CARRIAGE COURTS.

sane and practical, and if it cannot be obtained by any other means, then the enclosure
should be protected by hedges or even climber-covered trellis.

Whatever the form adopted, there are three conditions which should be carefully
observed. First : the area of gravel between walls should be much greater than when
the court is surrounded by grass, not less than 60 feet by 80 feet if to accommodate

(entrance Oafes & Sfyefter.

6/evanotz ofjl/cove.

FIG. 43.

motor cars ; if surrounded by level grass, a gravelled space of 45 feet by 65 feet would
suffice. These are medium widths, quite apart from the amount of gravel space suited
to the position which the court or carriage turn occupies. Of course, in every case,
aesthetic considerations, taken in conjunction with the special requirements of the
particular case, will determine the size as well as the placing of the carriage court. To
lay down rules for universal adoption would be worse than useless. The scale of the
entrance fagade of the house is, of course, the predominant factor, while the contours
of the surroundings and other local influences, as well as the nature and amount of

FIG. 44.

traffic, will need consideration. Again, where the drive is not broad enough to allow two
strings of vehicles to pass one another easily, as may often be the case in very short
drives, it may be necessary to give additional room for vehicles waiting their turn to
leave the court. In very few instances will provision for the inclusion of flower beds
be necessary, a clear line of demarcation between the approach and the pleasure

ENTRANCES AND CARRIAGE COURTS.

..j LJ

•

FIG. 46.

grounds being one of the regular functions of the carriage court. Where space permits,
nothing looks better than a combination of grass and gravel as in Nos. 42 and 47, a treat-
ment seen to perfection in the carriage courts to many of the stately homes of England.
Secondly : the courts or turns should be level, or with slope only sufficient to throw

off surface water. What has been
said elsewhere with reference to
the necessity for giving the house
a level base to stand upon by
means of terracing, bears with equal
force on the planning of carriage
courts. Indeed what is done for
the garden front of the mansion
by the former, is accomplished for
the entrance facade by the latter,
and, even though giving the
carriage court a level base should
FIG ., make it necessary to curtail its

dimensions, this rule should be

strictly enforced. In emphasizing this necessity, I am, of course,
referring to the whole of the area or plateau occupied by the
court. That the gravelled area for traffic must be flat, or almost
so, goes without saying, for a steep cross fall would be extremely
dangerous to carriages turning round to leave the court. Thirdly :
Recognizing that many country houses are centres of social life
and activities which make considerable demand on a late service
of motors and carriages, the comfort of chauffeurs and drivers

should be considered by arranging ample shelter. This may
often be secured most simply by porters' lodges, such as
were proposed for Holker, and illustrated in Nos. 43 and 44.
Where there are projecting buildings or high walls, archi-
tecturally treated recesses may be inserted there. These
recesses are usually sufficient, but in very exposed positions they
should be supplemented by masses of plantation, not high
enough to give the house a buried appearance, but still effective
in screening carriages and the porch. That provision for
the shelter of drivers while waiting or in charge of restive
animals which cannot be left for a moment, has not been
more often seized upon as a factor possessing almost
unbounded aesthetic possibilities, is remarkable. They would
be particularly useful in this connection : in cases where
the court is enclosed by long blank walls which need the relief which this insertion would
provide, or where there is an awkward corner which seems to defy artistic treatment.

Residences are often built with entrances in such positions as to necessitate carriage
turns which have steep banks falling away from them. Wherever this is so, even though
wind screens may not be required, protection should be provided, as nervous horses are
apt to be affected with a feeling of insecurity unless something is done to prevent this.
At Capernwray Hall a yew hedge three feet thick and five feet high was to be planted,
cut square, with shaped yew pillars every twenty feet, on the top of the slope which
runs the full length and across one end of the gravelled carriage turn (111. No. 45).
This simple addition is all that is required to make this ample though exposed and
dangerous-looking carriage space perfectly safe.

FIG. 47.

Small
gardens
better with-
out drives.

ENTRANCES AND CARRIAGE COURTS.

Most of the garden plans illustrated in this work include a carriage court. A study
of these, together with the sections and descriptions accompanying them, show why each
particular form is adopted.

In many places it is advisable to dispense with a drive or carriage court, such as
small houses placed on small plots of land, because the privacy of a garden, and even
the possibility of a garden, are destroyed by the ground monopolised by a drive or carriage
circle. In my own tiny garden (described later among the examples of garden design)
had space been provided to drive up to the front door, there had been practically no
garden ; whereas, by placing the house near the road, a space of ground on the South
and West is gained as compensation for the occasional short walk from the door to
the carriage.

Where a house is placed near a public road, an arrangement on the lines of the
carriage court at Chiswick House (111. No. 46) would be advisable, or better still, a
court the entrance to which can be set back well from the line of the roadway, as
suggested on the accompanying sketch (111. No. 47). There are also many cases where,
even though the house may be further from the road than in either of these examples,
it may still be desirable to save the space which would otherwise be given up to a
drive and carriage turn and connect the highway with the house by a covered way.
Where the windows of the entertaining rooms are so placed that they would inevitably
be overlooked from the carriage is an instance of this, or again, where the disposition of
the house on the site would otherwise prevent privacy in the pleasure grounds. There
are many instances in the suburbs of all large towns where land is too expensive to
allow of large grounds where much would be gained and nothing lost by doing away
with the " carriage sweep," as it is usually called, and substituting for it a covered way
connecting the house with a carriage stance obtained by recessing the boundary wall on
either side of the gateway. By a proper attention to the details of the covered way,
a most delightful cloistered effect can often be given to the garden on one or
both sides of it.

FIG. 48. — ANCIENT GATEWAY AT FARFIELD HOUSE.

|£ATES
GARDEN f
f PARK

^XW^rfTT-lfef

CHAPTER V.

In this chapter it is proposed to discuss the planning and design of those gates and
fences which could not be included in the previous chapter dealing with entrances and
carriage courts. These are two features which offer endless possibilities for effective
treatment, and it is not too much to say that whatever the material employed, there is
no case where either a gate or a fence is required about the estate which will not allow
of the exercise of taste in its design and arrangement.

While in large gardens attached to historic mansions care is usually exercised in these
matters, in other cases it is more often the rule than the exception to find that the
necessary fences and gates have been placed anywhere convenient and selected from the
wholesale manufacturer's catalogue, without any conception of the fact that, without
impairing their usefulness in the least, they may be so arranged as to enhance the beauty
of the grounds they enclose or partition. Gates also have the further advantage that
they may mark the end of a vista or, by a judicious use of open panels, may half
reveal and half conceal the beauties of the garden beyond, and so tempt to further
exploration. Fences, on the other hand, may support festoons of climbing roses or other
greenery, may be part of a terrace scheme or pergola, or may lead the eye forward
along a vista, or otherwise help the composition of the scene as a whole.

In the old examples, both gates and fences were made to serve as ornaments to the
gardens they graced, and the skilful design and clever craftmanship expended upon them
were doubly pleasing because legitimately applied to utilitarian objects. In making new
gardens, although they may not be in the same styles as the old work, it is equally
desirable to give character and distinction to such details by attention to their design and
placing. This does not mean that they should be overloaded with needless ornamentation,
but that their necessary parts should be so designed as to harmonize with one another
and with their surroundings.

The almost infinite variety of fences of all sorts, wood, stone, brick or iron, or a
combination of any two of these which is obtainable, should help to make the choice of
one suitable for every position very easy, besides which there are hedges of many kinds
and the sunk fence or ha-ha for occasional use in very special circumstances.

Local conditions will often determine the character of a fence, especially in the smaller
garden or the more remote portions of larger ones, and its character, whether elaborately
finished or rustic, will depend on its relation to the residence and the purpose it is to
serve. Too much can scarcely be said in favour of the old-fashioned hedgerows in
districts where they thrive and, in well-wooded localities where stone is plentiful, for
stone walls or, where the conditions are favourable, for a combination of the two, stone
dykes for example surmounted by hedges, or hedges planted in the open, with walls where
there are overhanging trees, or in other positions detrimental to the former fence.

Msthetic
possibilities
°f gates and
!ences-

GATES AND FENCES FOR GARDEN AND PARK.

Destruction
of fences
on new
property
condemned.

The ha-ha
fence.

FIG. 49.

The almost infinite variety of trees from which hedges may be grown, makes their
inclusion in every part of the domain quite appropriate. They are however more con-
veniently dealt with in the chapter devoted to formal and clipped trees, and it will be
sufficient here to protest against the somewhat unaccountable custom of demolishing all
internal fences on new property. Of course if a tall and prominent hedge cuts like a
knife right across the prospect, destroying the composition of the views and competing with
the onward sweep of a vista, it must be
removed and something less obtrusive put in
its place, but in most cases there can ^ be no
more mistaken policy than the removal of the
hedges on new estates in the attempt to gain
breadth. Unless the area under treatment is
most exceptionally fortunate in the amount and disposition of its timber trees, the
result will be not breadth but desolation and that sense of barren newness which it is the
aim of the Landscape Architect to avoid at all times. The features which impart local
character to a district are entirely destroyed, and instead we have an expanse of wind-
swept land without protection for stock in stormy weather or shade in heat. Far better
would it be to wait until the newly-formed plantations have more or less matured, when
the gradual rearrangement of the fences may be undertaken without even temporary
disfigurement of the estate.

Estate owners are not usually averse to walls or hedges to screen them from the
public highways and yet they fail to see the equal necessity for a definite line of de-
marcation between portions of the estate serving different and even aesthetically
incompatible purposes. It was as a result of this dislike of internal fences, that the ha-ha
or invisible sunk wall came to be invented, the idea of which was usually to make a
large meadow look as though it were part of the garden, instead of which it usually
resulted in making the house appear to be placed down in the middle of a field without
either protection or privacy. As already stated, there are exceptional cases where the
ha-ha may be employed with success, but generally speaking it is to be avoided. From
the very fact that it partakes of the nature of an extremely obvious trick on the senses
which is almost immediately discovered, it cannot be permanently pleasing, especially
in those numerous cases where it degenerates into an untidy ditch. In most instances
it gives the impression of presenting a very poor excuse for unwarrantably curtailing the
extent of the gardens, and is a silent confession that the grounds should have extended
further than they do into the meadow and that a trick has been resorted to, to hide their

meagre area. Again, a fence
which makes it appear as
though the cattle in the
meadow could come right up
to the windows of the house
or walk over the flower
beds cannot be satisfactory.
It will often be found too
that the ha-ha has proved
insufficient to prevent intrusions and has been supplemented by untidy wire contrivances
which have entirely defeated its original purpose, and there have been cases where short-
sighted persons have walked over the edge of the hidden wall and fallen into the ditch.
To sum up, the same principle should apply to fences as to everything else in a
garden. Instead of being a sham or a make-believe all the garden appointments should
honestly express their functions, and their artistic qualities should be inherent and not
superimposed. In every case the purpose or purposes of the fence should be recognized,

FIG. 50.

GATES AND FENCES FOR GARDEN AND PARK.

such as, for instance, screening a public road, giving protection from winds, dividing
two estates or portions of the estate or gardens, or for training fruit trees against, and
then that character of fence should be adopted which best fulfils the requirements
of the case and the prevailing architectural conditions.

FFG. 51.

FIG. 52.

As may be seen from many of the plans illustrating this work, the grounds to
a mansion may often be almost entirely fenced in by the terrace and fruit walls. When
the house stands in its own park, this is the most economical arrangement, as the balus-
trade necessary to grace the terrace serves, the double purpose of ornament and use.
Where the lawn extends beyond the terraces, however, some form of enclosing fence
becomes necessary, and while it need not by any means be a solid wall, it should be
substantial enough in appearance to give the impression of adequate protection against
the inroads of cattle and suggest seclusion from the outer world. A more or less open
arrangement, through which the grass of the Park can be seen and which will not cut
off the view, will usually be preferable, and where the fence is straight and the ground
fairly level, will not be difficult to obtain. A series of pillars in local stone or brick
placed at regular intervals with the spaces between filled in with wrought-iron or open
wood panels, such as those shewn in Nos. 51, 52 and 53, or, in more important cases,
a dwarf wall with well-designed wrought-iron railings above, as in No. 50 would prove
suitable. Here again local conditions should suggest original treatments. Thus in No. 49,
the arrangement of slates and wires was suggested by the contrivances erected on
the tops of walls in the Lake District, to prevent the hardy mountain sheep from
escaping. In other places peeled larch might be used in connection with stone. Both
forms produce quite a rustic fence only suitable for use at some distance from the
residence, unless it were small or designed on very simple lines, while, if
wrought wood panels were used, as in No. 54 the effect would be more
finished.

Where the ground is undulating and the fence follows the contours in
sweeping lines, a strong and simple pattern of continuous bar railing is

often suitable, but what is known as
unclimbable fencing, especially the pattern
adopted by various railway companies,
should not be used unless a shrubbery is
planted in front of it or a hedge trimmed
square and a few inches higher than the
railing, when it forms a neat and service-
able arrangement, though perhaps a trifle
hackneyed. Next to barbed wire or broken

glass, however, nothing is more out of harmony with garden scenery than the spiked heads
of unclimbable fencing unscreened by such a hedge as that just described. Strained wire
too, as usually used, is quite unsuitable, though a nice fence may be made on the lines
of the fruit espalier shown in No. 307 with oak posts and top rail. This form of fence,
if arranged in straight lengths, is simple and effective, and there is much scope for

*r~

FIG. 53-

Fencing
exhibiting
local

character-
istics.

Unclimb-
able
fencing.

Strained

wire

fencing.

GATES AND FENCES FOR GARDEN AND PARK.

originality in the shape given to the heads of the

posts. In a similar fence shown in the view in

gardens at Wraysbury near Staines (No. 55),

the posts stand up about two feet six inches above

the top rail, in the form of sugar-loaf finials which

form supports for climbing roses. In this case, FIG. 54.

as part of the fence is curved, the wires are

omitted and the top rail consists of a plain round galvanized bar. Another simple wooden

fence, consisting of a post with a cut and shaped head and a handrail placed angle-wise,

is shown in No. 56. This form is particularly useful in the wild garden or at the side

FIG. 55. — ROSE FESTOONS AT THE GRANGE, WRAYSBURY.

of a woodland path where the ground slopes away rapidly so as to render it dangerous.
There are many positions where a solid fence or wall would be inappropriate, as
when a rounded mound, forming the middle distance of an extensive view from the
residence, is the limit of the property. In such a case one of these simple arrangements
of post and rail, or post, rail and wire, would be most useful.

Peeled larch Another form of wooden fence, which, however, is more suitable for use in connection

fencing. with cottages or lodges than in the garden proper or the home park, may be made

from peeled larch unwrought, with strong posts, top and bottom rail filled in with a

lattice made from the same material split down the centre of each piece arid the flat

surfaces placed together as in No. 57.

Oak A similar fence is often made from the smaller limbs of oak trees known as oak

cord-wood. cord-wood, but, as these consist almost entirely of sap-wood, they will only last a very

short time, and even pieces four inches thick will rot through at the ground level in

the course of a year or two. The writer has met with many cases where this material

GATES AND FENCES FOR GARDEN AND PARK.

has been extensively used under the impression that all oak was very lasting, with
consequent disappointment to the users, and the fact that, when new, it is often so
hard that it is almost impossible to drive a nail into it, tends further to deceive the
inexperienced as to its durability.

Another cheap fence for cottage gardens and probably the most generally useful

which could be

contrived, is

constructed of

carpenter - made

lattice framed

between strong

square posts,

three-and-a-half

FIG. 56.

FIG. 57.

inches in dia-
meter and spaced five to six feet apart. The bottom rail should be kept clear of the
ground, say about three inches, and the top rail wethered or rounded on its top edge
and grooved to receive the laths, which should be about i^ by f inches thick and
spaced eight or nine inches from centre to centre. A useful height for such a fence is
about three feet six inches, and if it is not to be painted, the posts should be of oak,
otherwise larch or pitch pine are better. Pillar and climbing roses, honeysuckle, and
other flowering climbers can be most appropriately trained over it.

Another form of fence, with framework of similar construction, is the old upright
paling, which may either have the posts rising from the ground or from the top of a
dwarf wall. The uprights or balusters may be ij inches by ij inches, set angle-wise
or square, or flat pieces about two and a half inches broad and three quarters of an
inch thick with the top ends cut to a pattern may be substituted. The possible vari-
ations in the treatment of the details are unlimited. In Holland, the tops of the
uprights are shaped and coloured to represent tulips or other flowers and the remainder
painted white, but such a treatment would generally appear exotic in this country, though
many ideas can be culled from the quaint Dutch gardens and also from Japanese ex-
amples. Travellers in the latter country speak enthusiastically of the artistic taste
and clever craftsmanship displayed in the fences. Even the tiniest gardens are fenced
by paling which, in character, is simplicity itself, exhibiting perfect taste in the spacing
of the several parts, the sizes and thickness of the woodwork, or woodwork and stone
combined as the case may be, minute attention being given to details, and all without
sacrificing in the slightest the durability of the work, but rather the reverse, clever
contrivances being made to nullify the effects of the weather by means of a pantile
roof over the railings or by crowning each post with a metal cap.

A distinct class of wooden fence is obtained by the use of split or riven oak, which
is particularly appropriate for the division of suburban gardens or as a protection from

a footpath or road. It has the
merit of being cheap when its
durability is considered, and
looks picturesque when weather-
stained, and particularly so when
overgrown with climbers. As will
be seen from Nos. 58, 59 and
60, the material allows of varied
and original treatment and some
forms are decidedly ornamental,
FIG. 5s. though the ordinary pattern,

Lattice
fencing.

Upright
paling.

Riven oak
fencing.

Stone walls.

GATES AND FENCES FOR GARDEN AND PARK.

which, on the front side, shows nothing but a series of overlapping split battens arranged
vertically and cut to the same height, will often meet all requirements. This simple

FIG. 59.

FIG. 60.

pattern may be given a little more finish by cutting the heads of the posts to a variety
of designs, by the addition of an oak capping to the railing or by varying the lengths
of the split oak spads. No. 60 shows a fence having all three features. A combination
of split oak and oak wattles also split is shown in No. 59, while No. 61 shows much
the same fence built in between brick piers to screen off the kitchen garden from the
grounds designed by the author for T. Pegram, Esq., of Hoylake, Cheshire.

The design and arrangement of stone walls depend so much on local conditions
that it is impossible to do more than indicate a few main principles for general
application. The delightful garden wall at Alton Towers, Staffordshire, which has been
so often illustrated, for instance, though so appropriate to its surroundings, would be quite
out of place in most circumstances. A wall if rightly placed cannot however fail to be
pleasing in any locality in which there is local stone from which to build it, though a
brick wall in a stone district or a stone wall where it is obviously an imported feature
may be equally out of place. The prime cost, of course, will be higher than for a

J^0^iC>-

,^|k>!^t&

-/ 1 m w2K#0L .jdtes*

FIG. 6l.

wooden fence or even ordinary iron railings, but it will also be more durable. It is,
however, dressed or tooled stonework which is costly and, for ordinary estate work, dry
built walls (i.e. without mortar) provide all that is necessary, especially when the coping
stone can be set in cement.

Tasteful A well-constructed dry wall is always pleasing and each district has its own mode

use of local of building to suit the character of the local stone, whether quarried stone, slate, cobbles,

materials. nibble or flints or a combination of any of these, with or without bricks or tiles. Where,

for instance, cobbles, roughly-squared stone and slates can be obtained, quite charming

effects may be produced by combining them, as in No. 62, and examples of such walls

GATES AND FENCES FOR GARDEN AND PARK.

i J

: j

i '

]

FIG. 62.

are often found along the Deeside in Aberdeenshire, a
county in which walling has been brought to the
perfection of a fine craft. Flints and stone, flints
and brick, or flints, brick and tiles, all may be arranged
in many tasteful and original combinations, and the
flints themselves may either be used whole so as to
present a rounded surface or split in two to show
the dark glass-like interior.

For walls nearer the residence, where a stronger Coping.
construction and more finished appearance are neces-
sary, squared rubble laid in mortar may be used

with a hog-back or rounded coping, as in No. 63 or No. 64, where two courses of slates
have been inserted under the coping to give a little relief. No. 65 shows a similar coping
and No. 66 the same with two courses of tiles inserted. The two latter could be closelv

FIG. 63.

• -5TONC WALL

FIG. 64.

TWO COURSES
OF TILES

THE OUT;

BE.ICK WflLL
FIG. 67.

FIG. 65. FIG. 66.

copied in brick where necessary, and instead of the two courses of tiles, there may be
three courses, of which the middle one consists of roofing tiles placed so as to show
the "frogs" as in No. 67, so as very cheaply to obtain the effect of a dentil course.

By the ingenious arrangement of
roofing, paving and the many shapes of
ridge tiles, quaint and effective copings
may be evolved suitable for all sorts of
positions where a brick wall is necessary,
and in some parts of the country oval
land-draining tiles are made with ribbed
exterior surfaces which make a simple and
effective balustrade. Open panels too may
be constructed by piling curved ridge tiles
in a symmetrical manner. Walls dividing
small gardens or surrounding rose, fruit
or other enclosed pleasaunces, may often
be improved by the adoption of some
of these methods.

It cannot be too strongly urged, how-
ever, that, from the aesthetic standpoint,
the least satisfactory boundary wall is
that which is built of machine-made red
bricks of even colour such as are common
in Lancashire and North and South Wales,
but there are many cases where a deep-
coloured local brick is made, not too even
in shade, which is admirable, while grey
or brindled rough bricks, especially if
only two inches thick, make an excellent
and not very expensive boundary or for
dividing adjoining villa gardens.

FIG. 68. — GARDEN GATE WITH BELLS ATTACHED TO RING
WHEN MOVED.

Brick walls.

GATES AND FENCES FOR GARDEN AND PARK.

Terrace walls, fruit walls, and the wing walls to entrances are dealt with elsewhere,

but much that has been said of garden walls in general applies equally to them.

Wrought- The employment of wrought iron for garden fences has not of recent years received

iron fences, the attention it should, partly, no doubt, on account of the initial expense and partly

from a failure to discriminate between wrought iron of good workmanship and cast iron

Large

entrance

gates.

FIG. 69. — SIMPLE WOODEN ENTRANCE GATES.

imitations of the old work. In the best periods of English garden design, wrought iron
was always held as almost essential to its highest development and might to-day be
employed more frequently when garden improvements are under consideration. Nothing
could be better for the fences between the forecourt of a Georgian residence and the
highway, as at No. 50, where it is desirable to hide as little of the facade as possible.
In such cases the fence should
generally be designed on perfectly
simple lines with the ornamental
emphasis occurring seldom and con-
centrated at special points to
emphasize the main lines of the
composition as a whole. This result
is most often attained by reserving
the ornament for pilasters or gates,
as in the design just referred to.

Having thus briefly sketched
the more important of the various
kinds of fences which may be used
in the garden, we may now consider
the gates to be used in conjunction
with them, and without which they
would be incomplete.

Large entrance gates are dealt
with in another chapter, and the
number of folding gates which are
required for other situations is more
or less restricted, so that it has
only been thought necessary to give
designs for two, one in iron and the
other in wood. The first, No. 70,
was designed as part of the scheme
for laying out gardens at Green-
woods, Stock, the architecture of FIG. 70 ---GATE AM\ STEPS AT GREENWOODS, STOCK, ESSEX.

GATES AND FENCES FOR GARDEN AND PARK.

QAW3EN G/3E-HOU5E

Lffl

FIG. 71.
63

Postern
gates.

Garden
doors.

FFG. 72.

GATES AND FENCES FOR GARDEN AND PARK.

the mansion demanding a quiet treatment of the surrounding details; and the second (111.

No. 69) would be useful where access to the home park were required for carts, etc., from

somewhere on the route of the main drive or other rather prominent positions.

Reference to any of the plans given in this book will show the important part which

postern and other small gates take in a well-designed garden.
As to the character and design of individual gates, every-
thing depends on the position and importance of the walks
to which they give access, and the style of the residence to
which they lead. The steps and gateway just referred
to and which are shown in illustration No. 70,
occupy a position on the central axial line through the
house, and are placed on the terrace which divides the old
garden from the new extension, a position which justifies
the ornamental treatment adopted. The gateway in the
balustraded wall shown in illustration No. 50 connects a
large carriage court with the home park, the importance of
the residence demanding such an arrangement. In other
cases, to mark divisions between the various parts of a
garden, quaintly-designed lych-gates may be used, or little
gatehouses such as that shown in No. 71, which would
serve the purpose of an arbour as well as a gate canopy.
In other cases, where simpler treatment would be more in

harmony with the surroundings, either of the gates shown in Nos. 72 and 73 might be

used. The first of these was erected at Wraysbury, near Staines, and connects the

lawns and paddock. It is more elaborate than would usually be required for such a

position, but was justified by its surroundings. In other cases, the one shown in

No. 73, and erected at Shrublands, Windermere, would

be more suitable. The gateway No. 50 with the open

railing ; the gateway illustrated in No. 61 with the over-
head arrangement, and side panels, the one at Skibo

Castle designed for Andrew Carnegie, Esq., D.C.L. (111.

No. 74), and the opening and gate with its row of

clanging bells at Ashton-on-Ribble (No. 68), are all

modern examples of gates on which smith or carpenter

has exercised his craft, and all are arranged to mark

divisions between parts of gardens, while Nos. 75 and 76

give two antique Spanish wrought-iron gates which have

been re-erected in an English garden.

Garden doors made to fit arched openings in fruit

walls or the fence to the public highway are often

required, and for their design and arrangement we have

a large amount of precedent in the old English walled

gardens. There is a perfectly plain but delightfully

proportioned one at Melbourne Hall, Derbyshire, the seat

of Admiral Lord Walter Kerr, and another rather more

elaborate, and designed in the classic renaissance style, at

Woolhampton Hall, Berkshire. Those shown in Nos. 299 and 300, erected in gardens by

the Author, are all designed in the spirit of the old work. In this class of door more than

any other it is impossible to use stock designs. Every site needs individual treatment,

and the most should be made of the individual note. Where the door gives access from

the highway, a sense of privacy is required, as it would be the entrance for members of

OVEB-AECHEl) QATE e"»feJ of W1NDEPMECE
K1G. 73.

GATES AND FENCES FOR GARDEN AND PARK.

the household only, and where it gives access to n walled garden for roses or old-fashioned

perennials, after the style of the old examples, a glimpse of the brilliant colour masses

within might be obtained through open panels

or over the door, which might not in this case

be made high enough entirely to fill up the

arched opening. For such doors, oak is to be

preferred, and if possible English Oak, as this

is not only the most durable but has an

infinitely better appearance than the American

Oak, which comes next in order of durability.

Teak is also suitable, as it is lasting wood, but

most people will prefer the appearance of oak,

especially when weathered.

Before leaving the subject of garden gates,
four designs are given for small entrances to
little gardens. The first two, Nos. 77 and
78, are arched over, No. 77 being intended
to be built in local stone, rough punch and
hammer dressed, and No. 78 being designed for
building in rough slate or other material with
natural cleavage lines, the ball over the gate
being the only portion rough punched.

The other two remaining gateways, Nos.
79 and 80, are simpler still, and have been
designed with a view to strict economy. All four would lend themselves well to use
in the outlying portions of larger properties, and would be quite suitable, for instance,
as the entrance to a wild garden, park or paddock, and other places which are not
strictly within the ornamental grounds.

SKIBO <2\3Tffi •
A CATHAY

Gates for

little

gardens.

FIG. 74.

FIGS. 75 & 76. ANTIQUE SPANISH GATES ERECTED IN AN ENGLISH GARDEN.

GATES AND FENCES FOR GARDEN AND PARK.

The subject of gates and fences has been specially dealt with, in the hope that more
care and thought may be bestowed upon them than has been in the past. It is hoped

jcm,!

iftit^r.

tffity''

'"*.i*:«x

FIG. 78.

that estate owners, instead of surrendering inevitably to the fence-maker's catalogue, will,
by the aid of the examples given, be helped to evolve designs which shall have the merit

of individuality and special suita-
bility to the needs of the particu-
lar case. It is usual to undervalue
that which is easily accessible, and
to value that which is exotic and
remote, and in no case has this
tendency been more pronounced
than in the design of gates, and
it is hoped that the examples which have been given of simple designs, lending themselves
to sound and honest construction by the local craftsman, may help to remove this
tendency.

FIG. 79.

FIG. 8O.

FIG. 8l.— GATEHOUSE SCREENING CARRIAGE COURT AT THORNTON MANOR, CHESHIRE.

From the Highway.

FIG. 82.— GATEWAY SCREENING CARRIAGE COURT AT THORNTON MANOR, CHESHIRE.

From the Carriage Court.

ENTTR^NICE TO bPOCMANCWOOD hCV5E . MI3HOBE VSA

CHAPTER VI.

Those who have studied the writings of the Early Victorian school of Landscape
Gardeners, and particularly those persons acquainted with the actual work of this period,
will have noticed how often the drive, which is generally the most important accessory
of a country domain, seems to be treated as an unfortunate necessity. At best its
aesthetic possibilities are considered to be limited to the focussing of vistas or views of
the residence or park landscape, for which purpose it is arranged in a series of more
or less meaningless sinuous curves. Such expedients are seldom satisfactory. They may
please on first acquaintance, but, as soon as their artificiality becomes apparent, they
partake of the nature of tricks, and " tricks," even in landscape gardening, invariably
pall in the end.

To commence the task of designing and laying down the lines of the drive to a
country house with such limited conceptions of its aesthetic possibilities, would be a
fatal policy. When we consider the importance of first impressions, and that, in the
case of every house which stands in its own grounds, they are gained from the main
approach, we at once see that no feature is so capable of giving or, on the other hand,
destroying the dignity and sense of fitness in the setting of the mansion. It is also
necessary to remember that, on the placing of the drive, will depend the disposition of
many other features which have a direct connection with it, or which must be so arranged
as to secure privacy from it. It therefore follows that drives and approaches are to the
garden designer what the skeleton lines of a conventional design, or even the leading
lines of an unconventionalized statue or picture, are to the designer, artist or sculptor.

Notwithstanding much that has been written to the contrary, the questions of bal-
ance, symmetry, flow of line and the other factors which go to make up what we call
" composition " in a picture or statue, all have their counterpart in the designing of
drives and must receive due attention if the result is to be pleasing. There is, of course,
this difference, that, in the painting or sculpture, the designer is unhampered by utilitarian
considerations, while in the case of the designer of a drive, many such factors must
receive attention if it is to fall naturally and fittingly into the scheme of things. This is,
of course, true of all garden planning, but in the present instance, where purely practical
considerations come more prominently forward than in any other branch of the subject,
except, perhaps, the arrangement of entrances and carriage turns, it is especially necessary
to remember the close connection which must exist between the practical and aesthetic.
The result must be a compromise but need be none the worse for that, and may prove

^Esthetic
value of
carnage
drives.

DRIVES, AVENUES, AND SERVICE ROADS.

Unnecess-
arily long
drives.

the fallacy of the popular dictum as to the futility of compromises. Even the artist
must compromise with his medium and is bound by its limitations.

Another misconception of the Early Victorian and Georgian schools of landscape
gardening which it is necessary to guard against, is that a long and meandering drive
adds dignity to a residence. From the time of Repton, or even earlier, it was sought to
express the value and state of a property by the length of its private roads, and in several
of the better known of our lordly domains, the direct connection with the highway,
guarded by symmetrically-placed gatehouses, was removed and miles of long, serpentine
drives laid out. In some cases the drive is even made to run parallel with the public
highway for a considerable distance, even where the most rational and direct planning
of the approach to the house would result in no drive at all, but merely in a carriage
court screened from the public road by gate houses or a high wall and gates, a plan
frequently adopted in the approaches to the old manor houses. Though such an arrange-
ment may, at first sight, appear to some people to be aesthetically undesirable, it is,
in effect capable of the most charming and dignified treatment, and has the further
advantage of giving to the remainder of the grounds more privacy and seclusion than
can be obtained by any other means, especially where the main entrance door to the
mansion and the public highway are both on the North side of the house, while the cost
of forming and maintaining an unnecessary drive is avoided. The question of cost, both
of construction and maintenance is a very serious one, and experience proves that long
meandering drives, unless protected for their whole length on both sides by fencing, are
very difficult to keep clean where there are cattle, and that, under any circumstances,
they are not so good for quick transit as the wide, skilfully macadamized and tarred
highway with which they compete. A striking instance of this Early Victorian fallacy is
given in the plan of Athelhampton Hall (111. No. 86). Here, there is very little
doubt that the approach to this beautiful and ancient domain was originally on much
the same lines as those to which the Author was privileged to restore them, as shown,
on the plan, but, when he was called in, the drive took the course shown by the
dotted lines, and there is no doubt that the change from the simple, direct and dignified
approach to one which runs close to and parellel to the highway for quite a distance,
was made when this false taste was in vogue. This instance is a particularly happy
one, as a glance at the plan shows immediately which method is to be preferred,
whether considered from the aesthetic or practical standpoints. Of course there are isolated
cases where the character of a highway so alters as it approaches the house that it is
undesirable for the drive to leave it at the point nearest to the mansion. Such a
case occurred in the gardens laid out by the Author for Arthur Roberts, Esq., of
Windermere. Here, the roadway, after being of a reasonable width and more or less
satisfactorily graded for a considerable distance, suddenly deteriorated and became little
more than a farm track. In this instance, the only satisfactory solution of the problem
of the route the drive should take, was reached by placing its commencement at the
extreme corner of the estate nearest to the point where the roadway narrowed so that
only a few yards of the poorer portion must be traversed before reaching the main
entrance gates, not more, in fact, than it would be possible to regrade by agreement
with the rural authorities without prohibitive expense to the proprietor of the mansion.

Another exception to the rule that the drive should be as direct as possible, must
be made in favour of those domains reached through exceptionally beautiful scenery,
where, by reasonable deflection of its course, the approach can be taken through
some especially fine country or romantic glen. No economic advantage, for instance,
could justify the removal of the drive through Hawkestone Park in Staffordshire from
under the natural arch of rock which at present spans it, and there are numberless
instances of a similar kind in other parts of the country. This acknowledgment of

DRIVES, AVENUES, AND SERVICE ROADS.

exceptional features is not to be confounded with the neglect of every other consideration
in order to focus from the route a series of more or less forced vistas and views which
we have already so strongly deprecated. The two things are entirely distinct both in
their intent and result.

While it is impossible to arrange the various forms of main approaches to country
mansions into hard-and-fast classes, they may be broadly divided into naturally -planned
drives following the contours of the country through which they pass ; formally arranged
drives, usually part of a symmetrical arrangement of drive, entrance and carriage court ;
and tree-lined avenues, straight or curved.

It should be explained that while in Scotland all carriage drives, whether curved,
serpentine, or straight, tree-lined or not, are called avenues, in this work, for purposes
of distinction, the English usage is followed, only roadways bordered by trees placed
at even distances apart being so designated. In England, carriage ways, whether curved
or straight, which are not bordered by trees, are called drives, while subsidiary roads
used by tradesmen or estate servants and connecting with the kitchen court, stables or
farm steadings and not used as principal carriage ways, are called service roads.

The whole subject of drive design is more dependent on scale and proportion than
upon any other factor, and it is this which will determine which of the above forms
shall be adopted in each individual case. It has always been a common error so to
treat the approach as to convey an idea of importance altogether out of keeping with
the size of the mansion which it serves, though, as stated when dealing with entrances
in another chapter, the added requirements of fast motor traffic make an arrangement
suitable which, under older conditions, would have been somewhat grandiose.

Of all forms of drive, the stately avenue, straight from end to end, and bordered
by patriarchal elms making a lofty overarching leafy canopy, or a double avenue securing
a wide open glade to the mansion is the one expressing most dignified importance and
demanding the most imposing architectural adjuncts to justify it. Such an avenue,
on any but the smallest scale, would be quite out of place in connection with anything
but an important mansion, and even there great care will be needed to get length,
breadth, distance between trees, lodges, entrances and gates, all so proportioned as to fall
naturally into their places and to give that sense of ordered relation and simple dignity
to which such an arrangement must owe its whole effect.

As a general rule for adoption in all ordinary cases it may be stated that an avenue
should be absolutely straight and level from end to end unless there is an even rise
throughout its whole length towards the house, and while such a rise, if not too great,
is probably even better than an absolutely level course, the reverse, or a drop towards
the house, is, of all arrangements, the very worst, giving the house the appearance of
being in a hole.

Repton, in referring to the formation of avenues, states, as his opinion, that the
effect is heightened where the route followed is over hill and dale. Probably he spoke
of the appearance as viewed from the side and not up the green aisle, and of avenues
with green drives not spanning a roadway, for straight roads and drives traversing a
series of hills and hollows lose, to a great extent, that perspective which gives them
their stately appearance. This is easily seen if the spectator stands on the first rise and
looks towards the last one when only the summits are seen, the intervening road in the
hollow being lost to view. It is important, therefore, when making a straight drive over
undulating ground, that the heights should be reduced and the hollows filled to obtain
length of line. When, however, there is a swinging hollow stretching from end to end
of the avenue, and not so depressed in the centre as to bring the leafy canopy at that
point level with the eye as viewed from one end, the effect is almost as good as on a
level course. This may be seen on a large scale on the Kenilworth Road a short

Different
classes of
drives.

Importance
of scale.

Avenues.

Repton on
avenues.

DRIVES, AVENUES, AND SERVICE ROADS.

Uniformity
of size in
the trees.

distance from Coventry, though, in this case, the absence of some culminating
architectural feature to close the vista is much felt.

The most important point in the formation of an avenue is that the trees shall be
chosen and arranged with due regard to uniformity in their size and habit when fully
grown. This is most difficult where one portion of the route is more exposed than
another to cutting winds, but much may be done by obtaining the whole quantity
required from one nursery and selecting individual trees for each position.

fa_.

\
\

\ '
\ /

— , — I r-

/ V / \
, \ , \

\ !

Double
avenues.

FIG. 83.

FIG. 84.

GRASS.

All the remarks on the choice of trees for garden work given in another chapter
apply equally to those required for avenues, but, while in a smoky district or one where
towering height must be sacrificed for sturdy growth, the tap-root must be cut and the
leading shoot pruned at a later date ; in the open country there are many positions
where by far the finest result would be obtained by planting closer together and leaving
tap-root and leading shoot in their natural state.

Arrange- The distance apart the trees should be planted in the rows at either side of the

ment of avenue depends not only on the species to be used, but also on whether those on either

trees. side of the roadway are to be placed opposite to one another as in the first sketch

(No. 83) or diagonally as in the second (No. 84). The former arrangement is to be

recommended where the surroundings of the avenue are restrained and conventionalized,

and the latter where it passes through more or less natural scenery. The spaces between

the trees in the former case would
vary from thirty feet for Lombardy
poplars to sixty feet for full-grown
elms, and in the latter rather less,
^2\ while in planting an entirely new

avenue and where immediate effect
is desired, double this number of
===== trees might be inserted and half
^p of them removed as soon as they

"^^^ have sufficiently grown to crowd
each other inconveniently.

Where the scale of the mansion

FIG. 85. and its surroundings are such as to

warrant the greatest magnificence

possible, double avenues, of four lines of trees, may be formed, especially where side
tracks for foot passengers are desired in addition to the central carriage drive. In
such cases, the two central lines of trees would be planted opposite to one another, and
the outer two, diagonally to the trees nearest to them (No. 85). Additional effect may
be obtained by pollarding the inner rows of trees and allowing the outer ones to tower
above them, an arrangement which will be familiar to those who know Chelsea Hospital,

D R I VE. *

DRIVES, AVENUES, AND SERVICE ROADS.

though in this case again one feels that the avenues are a little meaningless without
the incorporation of suitable architectural features to focus the vista, and also that
pollarding should not be resorted to except where it is a more or less prominent local
characteristic.

Pleached avenues are very useful where a formal arrangement of their surroundings Symmetnc-
is in evidence, but where the scale of the whole lay-out is not important enough for a^V
the towering elm avenue. They are most successfully formed of elms or beech and the Pianne"'
best example familiar to Londoners is probably at Romney Road, Greenwich, where it
passes between the Royal Naval College and the Royal Hospital School.

Green avenues which do not form part of the main approach to the mansion but

drives.

THE GARDENS AT
ATHELHAMPTON . HALL
• DORCHESTER w~

PLAN SHEWING
PROPOSED
ALTERATION TO

FIG. 86.

are designed solely as a feature of the pleasure grounds or home park, are dealt with
in another chapter.

The symmetrically planned drive shares with the avenue its particular adaptability
to a position where grandeur is essential. The drive and entrance at Athelhampton
Hall (111. No. 86), already referred to, may be taken as a typical instance of this type
of drive which has worked out well in practice, and produced a result which is dignified
and thoroughly in keeping with the beautiful old architecture up to which it leads. As is
particularly necessary in this class of drive, the gate-houses were designed by the late
Mr. Dan Gibson in a style exactly to harmonise with that of the old residence, with
an arch over the gateway and massive doors, the stables also being rearranged to suit
their altered surroundings. In this case the surface of the drive is level, and this is

DRIVES, AVENUES, AND SERVICE ROADS.

Informal
drives.

best, except where it is rather long in relation to its breadth, when an even rise
towards the house will lessen the foreshortening and give an effect of better proportion.

Formal drives of this kind are usually enclosed between clipped hedges with a space
for grass between the hedge and the carriage-way, as shown on the plan just referred to,
and on the correct proportioning of the breadth of the roadway and grass verges and
the height and treatment of the hedge to the length of the whole, much of the ultimate
effect will depend. Such drives cannot, however, be made more
than a certain length without loosing the perspective and dwarfing
the mansion. No very hard-and-fast rule can be laid down

FIG. 87.

as to the greatest length possible, as so much depends on the height
and breadth of the facade of the house up to which it leads, but in
most cases, fifteen hundred feet would be a maximum. In public
boulevards and park avenues this length may be much exceeded by
placing a piece of statuary or other monumental feature in the middle of the roadway
at its central point, i.e., equidistant from either end, thus focusing the perspective ; but
in a private drive such an arrangement would usually be quite out of keeping.
Where the house is a long way from the highway, too far for a successful treatment
on these lines, the best way would be to make a shorter formal drive at the end
nearest the house, designed as a part of the more formal pleasure grounds, and treat
the rest of it in a free manner either with a drive laid down in sweeping curves, or
better still, where circumstances allow, by a bifurcated drive, as in the sketch (No 87).
The point where the formal arrangement ends will need very strongly marking and the
best way will be to place the lodges here with handsome gates between, preferably of
wrought iron, and to treat the more distant gates at the roadway quite simply with
simple wooden palings to the wings, the whole painted white unless in oak when rampart
roses could grow over it in luxuriant masses.

The lodges to symmetrically planned drives will themselves usually be best if
symmetrically arranged, as shown in the two illustrations of this type of drive which are
given (111. Nos. 86 and 87). Those appearing on the heading to this Chapter would be suitable
in some instances, while, in others, where greater dignity is required, a gatehouse with an
arched portal and probably groined vaulting over the gateway would be more in keeping.

In the making of informal drives, the whole effect depends on a careful consideration
of the contours, and an arrangement of the line of route which recognizes them and
emphasizes all that is pleasing in the lay of the ground. It is to these purely local
conditions and the way they are deftly woven into the scheme, that we owe much of
the pleasure derived from the approaches to many a country seat.

In approaching the individual problem, the foremost consideration is to adopt a
route which, if possible, will allow the drive to leave the public road at a lower level
than the house, so that it may rise towards it and so increase its apparent elevation,
but this must be done without sacrificing directness and convenience or belying the
contours, or the result will be strained and affected in the extreme.

DRIVES, AVENUES, AND SERVICE ROADS.

No paper scheme for a drive of this kind can possibly be successful. Only by first
planning on paper, then pegging on to the ground, adjusting by the eye and re-surveying
on to paper, readjusting and repeating this process several times, can the best route be
decided on. For the purpose of marking out the curves on the ground, small pegs are
no use. Surveyors' poles are best, but where these are not immediately available,
slaters' laths as long as possible will do almost equally well if they are white and clean
so as to show up well against fallow ground, turf or brake, as the case may be. Where
these are used and there are sudden dips in the ground a few longer stakes will also
be required such as may be made from plasterers' anglebead. Dahlia stakes may be also
used if unpainted, but those which have the usual dark green colour are unsuitable.

The reason for using long stakes to mark out the course of the drive will be seen
immediately if we peg it with short ones and then substitute long ones, putting them
into the holes made by the short ones. It will be at once apparent how much the
unevenness of the ground warps the perspective, so that curves which look nice as at first
pegged out would be found to be far too flat in the hollows and too sharp on the
breast of a hill when the inevitable grading is completed.

In order to judge more correctly of the effect of raising the surface of the finished
drive above the natural level in the hollows, and lowering it at the highest points, and
also to test the result of substituting even gradients for the original rough hummocks
covering rising ground, a further expedient may be resorted to. Having fixed the long
pegs in position, a number of pieces of scarlet chair webbing are procured, one for each
peg and about eighteen inches or more long. These are loosely knotted round each
peg so that they can be slid up and down, but so that they will remain where placed.
Now cut a piece off a spare lath rather longer than the deepest cutting is expected
to be, and using it as a rule, slide all the pieces of webbing up or down the stake until
they are the height of your measure above the proposed finished level of the drive at
each point. By running the eye along the line of red on the stakes, a very approximate
idea of the ultimate result can be obtained, though due allowance must be made for
the fact that ciirves will look flatter on this single line of pegs than they will on a
drive of twelve feet or more broad. The whole can then be surveyed and marked on
the plan, the amount of cutting or filling at each peg being noted.

Of course the above method of working must be subsidiary to a proper series of
sections prepared from measurements taken over the course of the drive with a surveyor's
level and plotted on to paper ; but unfortunately, in ordinary road engineering, practical
considerations usually determine the route and levels, while in the case of drives, aesthetic
factors must also be considered so that visual helps such as those described must be
used to assist the surveyor's measurements.

There are two other ways in which the ordinary methods of the road or railway
engineer fail aesthetically when applied to drives and service roads. One relates to
the arrangement of his curves and the other to his gradients. The former are laid
down to fixed radii of circles tangent to one another or to intermediate straight lines.
Where aesthetic conditions are sought, these set radii must give place to catenary curves,
the graduated curves assumed by a chain or rope when loosely suspended between two
points. The reason for this is not far to seek, for a moment's reflection will show that
this is the curve any wheeled vehicle naturally takes (unless running on rails), and
consequently is the best to adopt practically as well as aesthetically.

With regard to levels, the railway engineer's lines consist of one straight gradient,
or " bone " as the workman will call it, running into another or into a level stretch,
and it will invariably be found that, on facing a rise where there is a flatter gradient
below meeting a steeper one above, there will appear to be a sunk place in the surface
where the two meet, while when the conditions are reversed and the lower gradient is

Practical
planning
of curved
drives.

Engineers'
and Land-
scape Arch-
itects'
methods
contrasted.

DRIVES, AVENUES, AND SERVICE ROADS.

the steeper one, the surface of the drive will appear to be raised too high at the point
of junction. The remedy is to plot all the gradients on to the sections in swinging curves
at their junctions, at the same time keeping changes in both direction and gradient as

few as possible. The accompanying sketch (111.
No. 88) shows, by full lines, the engineer's methods
in the bottom of a hollow and, by dotted lines,
how the Landscape Architect would alter them.

FIG. oo.

Probably the most effective curved drive ever

designed by the author was one something under half a mile in extent which, for its whole
length, was carried in one long simple sweep round an amphitheatre of hillside and rising
at one gradient the whole way from the entrance gates to the forecourt of the house.

The railway engineer's methods of working his sections will also need adaptation to
the special requirements of private road work. The best way is to take a line of levels
along the centre of the proposed route, and at each point measured, to take a level
on either side, say fifteen feet away to right and left. The three lines of levels thus
obtained are all superimposed over one datum line in three different coloured inks, making
the centre line the most prominent to ensure clearness. This method, of course, causes
a little distortion in the lengths of the side sections on the curved portions of the drive
as they are represented as being a little longer than they are on the inside of a curve,
and are shortened on the convex side of the bend. This, however, can easily be allowed
for in calculating the proportions of cutting and filling. It has the advantage of
showing the cross-grading at every point at a glance without reference to the cross
sections usually prepared in such cases.

The writer's own method is to plot the three superimposed sections to a much larger
vertical than horizontal scale, and then to add the centre line only, drawn to the same
scale as the horizontal measurements, using the same lines of heights above the datum.
The arrangement of the surface levels can then be proceeded with on the upper set of
lines, and are afterwards transferred to the lower centre line as a check, from which the
resulting gradients can be read without calculation. The amount of cutting or filling
at any point can, of course, be more accurately computed from the higher set of lines.

Where the subsoil is of such a nature that all the roadmaking materials can be
obtained in making the excavated portion of the drive, the finished level should be plotted
on to the sections, but where these will have to be carted from a distance, the found-
ation levels should be laid down, thus allowing an equal amount of cutting and filling.
It would seem, at first sight, as though rather more filling than cutting would be
necessary, as the material used for filling packs so much more loosely than before being
disturbed, even when it has had time to settle solid, but the amount used in making
up the banks on the low side of a cross slope will just about absorb the surplus in
all ordinary cases.

Ease of As to gradients, these should always be as easy as possible. The sight of horses

gradient. struggling up a steep drive is not conducive to that sense of repose which it is the
first object of the garden designer to obtain, and even in the case of a motor-car, slow
threshing uphill on the lowest gear tends to be irritating.

As a general rule, gradients of more than one in twelve are to be avoided, though
the whole question is relative to the general contours of the district. What is the best
possible in one place would be distinctly bad in another. In extreme instances in the
English Lake District, where the residence may be placed in an almost inaccessible
position for the sake of a unique view, the writer has occasionally been compelled to
adopt a gradient of one in six-and-a-half or seven for short distances. This may be
taken as being the steepest slope up which it is possible to get a heavy luggage cart or
other loaded vehicle.

DRIVES, AVENUES, AND SERVICE ROADS.

FIG. 89.

FIG. 90.

The curved drive, running through natural or park-like scenery which is most success-
ful, will be that which is so designed as to fall naturally and fittingly into its place as

a part of the general landscape, and which has the appearance
of being planned on the only possible lines. This means
that, in its design, the two factors of directness and ease
have been kept equally in mind by its designer and balanced
one against the other. In the term " ease " must be included
a careful consideration of the contours of the country through

which the drive runs and making its curves and gradients emphasize its undulations.
Any curve which opposes them will strike the user at once as being in the very worst
taste as well as being constructionally bad.

In most instances, the effort to bring the course of the drive into conformity with
the requirements of the contours will result, at the first attempt, in a series of short and
somewhat irritating curves, and it is in the combination of a number of these into one
long, graceful sweep, as in the accompanying sketch (111. No. 89), that the designer's
artistic capabilities will receive their fullest test. In this important work, it should
always be borne in mind that both curves and gradients look
much natter on paper than on the ground, owing to the fore-
shortening effect of perspective, and this is again one of the
reasons why practical work on the ground must go hand-in-hand
with designing on paper, if the best result is to be obtained.

The junctions of curved drives with service roads require very
careful adjustment in the gradients of each at the point of
connection. All road makers know the difficulty of joining the
varying gradients together satisfactorily, and only very careful
attention to these as the work proceeds can prevent an awkward

appearance ; and in the case of the planning of the connection, equal care is necessary.
The two roads must meet in a natural and easy manner, or, to put it technically, their
centre lines must be tangent to one another at the point of junction.

Where possible, entirely separate
service roads should be constructed
for the use of tradesmen and for the
necessary carting to the residence
and stables. Where this cannot be
provided and the main drive serves
all purposes for a portion of its
length, care should be taken in the
design of the connection with the
service road that visitors cannot
mistake it for the main drive. This
may be accomplished by making the
service road narrower than the main
drive, by keeping the junction as far
from the residence as possible, by
making the junction by a sharp
curve at a point where the drive is
fairly straight, and by planting the
space at either side of the junction
as shown in the sketch (No 90).
Curved drives offend more often than any other form in being so designed as to
minimize or even destroy all privacy in the pleasure grounds. In one instance in the

FIG. 91.

Effect of
curves.

Junctions.

Service
roads.

Preserva-
tion of
privacy.

DRIVES, AVENUES, AND SERVICE ROADS.

writer's experience the drive was taken round three sides of the house to the front door.
Unless the main entrance to the house has been very badly arranged, there could be no
excuse for this or for so placing the approach that it comes in front of the entertaining
room windows or overlooks the lawns or flower gardens. Even in the worst cases a
screen hedge should be included in the scheme.

Double Double drives, enabling the traffic to return to the highway without turning round

drives. in a more or less confined carriage court, and without having to pass other vehicles

proceeding to the house, are almost invariably curved, otherwise, in most instances, in
looking along the drive, one entrance would be visible from the other, so destroying all
privacy and any attempt to create a sense of breadth of treatment. A notable exception
may be made in favour of those cases where the house is approached by an equal
amount of traffic from two directions, as in the sketch (No. 91), say from the railway
station on the one side and the village or town on the other.

GARDENS ai BROXD - OAKS
^ACCRNGTON OHIZIE

(fir ^tr \3eqge wiaeaipwe 14 lul

FIG. 92.

Speaking generally, however, the double drive is the prerogative of those houses
which stand in their own grounds but which "are so near a large town that they serve
all the purposes of a town residence, and so on the occasions of social functions, there
is a very large amount of wheeled traffic in a short space of time, and by reserving one
route for arrivals and the other for departing carriages, confusion is avoided. Such a
domain is shown on the plan of Broad Oaks, Accrington, (No. 92). Here the approaches
are treated in the informal manner which best lends itself to double drives on this
scale, while in illustration No. 94, a more formal arrangement is shown.

Having decided the principle on which the main approach to the residence is to be
laid out, whether as an avenue or a formally or naturally treated drive, there are two
details common to all forms of approach, the planning of which demands consideration.

FIG. 93.

DRIVES, AVENUES, AND SERVICE ROADS.

These are the junction of the drive or avenue with the public highway and the angle
and position of the drive's termination at the carriage court.

While the planning of the carriage court and the architectural accessories and

furnishings of the
are
else-

en trance
treated of
where, the subject
of drive formation
would be very in-
complete without
some reference to

the general arrangement and planning of
its terminations.

For the entrance, most designers seem
to favour an oblique junction, making the
centre line of the drive run in the direction
of a town, a railway station or other
important place. Where, as in No. 93
there is a sufficient bend in the highway to
justify this arrangement, it may be a
success, but when the drive breaks away
from a straight road, the effect is generally
disappointing.

An oblique junction is also very un- Oblique
suitable where the drive and the highway entrances.
approach one another at very different
gradients. Suppose, for instance, that in
illustration No. 95 the point B, which is
forty-three yards from A, is also thirteen
feet higher, and the gradient of the high-
way between the points C and B is one in
twenty, the cross fall of the ground would
be so considerable as to make the entrance
unsafe for carriages. Of course the ground
at A, could be levelled up, but as this
would have to be carried from the point
of curvature of the wall to a point many
yards inside the gateway, the cost would
be heavy ; whereas, half the money spent

on this unsatisfactory arrangement would have sufficed for an entrance at right angles to
the main road, which would be quite as impressive in line, and safer, provided of course
that the gates could be placed well back from the main road.
The question of safety should, of course, always be para-
mount, and in this connection the coming of the motor-car
has effected many changes. Longer sweeps, a broader outlook
and the avoidance of collision points are all necessary, while
the extra wear and tear of tyres caused by turning at a very
short radius also has its influence in determining the lines of FIG ()5

the entrance sweep. Whereas formerly entrance gates were

set back from the roadway fifteen to thirty feet, nowadays, thirty to sixty feet, with
wing walls in proportion, is considered necessary. Thus, entrances which, twenty years

Safety.

---c

Junction of
drive with
carriage
court.

FIG. 96.

DRIVES, AVENUES, AND SERVICE ROADS.

ago, would have been considered extravagant or even ostentatious in their proportions,

to-day only meet actual needs.

Apart, however, from questions of safety
and convenience, it is necessary, as has already
been suggested, that the entrance, especially if
near the residence, should be planned strictly
in keeping with it, and, as a general rule, it-
may be said that the nearer the entrance is to
the house the more dignity it should possess.
The relative importance of the various entrances
to a large country seat should also be expressed
in their design and arrangement, and it is equally
necessary that there should be nothing to clash
with beautiful natural scenery where this exists.
As to the approach to the carriage court,
whether the drive should terminate at its side,
end or angle, depends partly upon the size and

line of direction of the court and partly upon the architectural character and arrangement

of the house, whether it is a perfectly balanced and sym-
metrical structure or a picturesque, many gabled composition

without any dominant axis on which to centre drive,

carriage court and gate piers as a self-contained and complete

entity. In any case, however, it is wrong to enter the

court with such a sharp curve as to lose any comprehensive

view of the residence from lack of the necessary perspective.
Here are five examples of typical treatments from the

writer's recent work.

Illustration No. 99 shows the approach to a symmetri-
cally planned dignified classical mansion, having a fine

pillared portico on to which the avenue centres, the double

line of trees being set back forty feet from the centre of

the drive on either side, giving a clear width of eighty feet>

thus allowing a clear view of the entrance facade. There

is a second approach to the West which centres on to an arch leading to the garage,

over the centre of which is a clock cupola.

No. 96 shows the approach to a Scotch
mansion which has an imposing entrance in
the angle of the "L" shaped building. In
this instance the court is enclosed within yew
hedges, and the position of the entrance has
given the opportunity for a somewhat unusual
"arrangement of brick paving over a portion
of its surface.

No. 97 is the approach to the carriage
court at Wood, South Tawton, in Devonshire,
a view of which forms the subject of the end
papers to this book. In this case there is a
steep cross fall between the points A and
B, on the sketch.

No. 98 shows the approach to a type of residence which is happily as usual as it
is delightful, one which has been built at various periods in the styles in vogue when

FIG. 97.

FIG.

DRIVES, AVENUES, AND SERVICE ROADS.

each new addition was made and at all angles, resulting in a haphazard picturesqueness

which resents any formal arrangement of drive or approach.

No. 100 shows a double approach which enters a large court from opposite directions,

each drive, for a distance of nearly a hundred yards, centering on the porte cochere ;

while No. 101 shows an important variant of
this arrangement.

Having thus dealt with the various forms
of drives and avenues and the treatment of
their terminations, a few remarks on those
methods of construction common to them all
may be given.

Materials vary very greatly in different
parts of the country, and in all cases the best
must be made of those available locally, for
the cost of importing the one hundred tons or
more of stone required for even a short drive
would be quite prohibitive, though in extremely
important cases, where the traffic will be very
heavy, it might be advisable to obtain Mount
Sorrel or Aberdeen granite for the sub-surface

as the truest economy in the long run.

Whatever the material however, the various processes of construction will be much

the same. When the ground has been made up to the required levels and gradients

by 'cutting through the higher parts and filling deep hollows and the " made " portions

FIG. 99.

FIG. IOO.

FIG. IOI.

have had time to consolidate, a layer of broken stone in large pieces, where possible from
six to nine inches in diameter, is laid over the whole width. This is known as the
" pitching," and there are two varieties, viz. : — rough pitching and hand pitching. The
former is the more quickly done but absorbs the more material and consists of tilting
the stuff out of carts on to the place it is to occupy, and going over it with a hammer
and levelling down and breaking up any pieces which are much larger than the rest,
when it is considered to be ready for the sub-surface material. In the latter method,
each piece of pitching material is placed by hand, giving the unfinished drive the appear-
ance of having been very roughly paved. Where material is plentiful, the former

Materials.

Pitching.

DRIVES, AVENUES, AND SERVICE ROADS.

method will be best, but where it is expensive or difficult to obtain, the latter is the
more economical, particularly as it allows of a saving in the subsequent operations.
Peaty The success of the pitching depends almost entirely on getting a good firm bottom

subsoils. on which to put it. In most districts this is easily obtained by removing a foot or

so of turf, soil, fibrous matter, etc., from the site, but in others, where the ground is
very wet and peaty, or where, as in many parts of Sussex, the subsoil is pure light sand,
means must be taken to insure that it will not work up between the pitching and so
destroy the work, as it otherwise would in the course of a few weeks, through the agency
of wheeled traffic, if means were not taken to prevent this. In the case of a peaty
subsoil, where this is only shallow, by far the cheapest method is to remove it entirely
and fill up with dry, clean rubbish, adding a proper system of land drains, even though
this may mean a rather heavy initial expense. Where the peat is too deep for this,
it must be thoroughly drained, and both here and in the case of light sand, a layer of
brushwood, broom, or other tough fibre, laid under the pitching, will keep everything
in place, until time and the hammering of the traffic have together thoroughly consolidated
the whole construction. In some districts, such as North Hertfordshire, pitching of any
sort is dispensed with, and a layer of chalk substituted, but this is a material which
needs very careful using, for in other districts where its physical properties are not quite
the same, a sticky, putty-like substance would ooze up between the stones and ruin the
whole. Brick bats and old building rubbish, if clean, make good pitching where stone
is not available, and the writer has made good public park roads with a foundation of
the broken crockery, etc., from the works in the Pottery Districts. It will thus be
seen that in drive formation there is scope for much ingenuity combined with a
knowledge of local conditions.

The pitching having been laid, a solid foundation is formed on which to put the
surface material of the drive. This is usually of two kinds, which may be described
as the sub-surface material and the grouting. The former consists of stone broken to
pass through a sieve with a two-inch mesh, and the latter is either finely-broken stone
used to fill in between the sub-surface material and form a smooth surface, or it is
material added to cement the whole together. Undoubtedly the best materials are those
which make their own grout, that is to say those of a tough but not brittle consistency
which, when rolled, make a cement-like detritus which itself acts as a grout. The best
of these is the magnesian lime-stone so largely used throughout the Lake District, but
all lime-stones are by no means so good. Some make the dustiest and muddiest roads
in the kingdom. Such materials as granite or flints need an added grout, and probably
the best in most cases is formed of road scrapings, while another often used is composed
of garden loam. If the sub-surface material is formed from rounded stones from a
watercourse or sea shore, they must each be broken at least once, even if this makes
them rather too small, otherwise the whole will not bind together into a solid mass and
horses' feet will be continually loosening rounded pieces of material. Where a drive
is being made to lead to a new house, it is a good plan to make it up roughly before
building operations commence, and then to insert a clause in the main contract, making
the contractor responsible for its being left by him in as good a condition as he finds it.
This means that all the heavy carting materials for the house will be done over it, and
thus it will be thoroughly consolidated and any weak points will show themselves, and be
filled in with building rubbish, often several times, until they are made good and solid.
When the heavy carting is finished, a most exceptionally good sound foundation for the
drive will remain, which will only need the surface repairing.

Rolling. At every stage in its construction, the drive should be rolled with a fairly heavy

roller, the weight of which will depend on the amount of pounding the material will
stand, without either breaking up or being driven into the subsoil, and, in the case of a

Sub-surface
material.

DRIVES, AVENUES, AND SERVICE ROADS.

drive to be used by motor traffic, it is particularly desirable that it should be finished
with a light steam roller.

All drives should be " crowned " or raised in the centre and sloped away at the
sides in order to throw off rain water, which would otherwise soak into the surface and
disintegrate it. Where the drive is hand pitched, by far the best way is to form the
crown in the subsoil before commencing the pitching and to keep each layer of material
the same thickness throughout, but where it is rough pitched this is not so important.
A good general rule is to make the drive with a crown which raises the centre one
inch for every two and a half feet of width from crown to side. Thus a drive twelve
feet broad would round up to the centre nearly three inches, and one of eighteen feet
nearly four inches. Here again, however, local conditions and the relative absorbency
of the material used must be taken into consideration. For the sake of cyclists especi-
ally, but also for other fast traffic, it is better that, where the drive curves, and especi-
ally where the curve is sharp, the camber should be carried straight across the drive,
making the inside of the curve the lower and the outside the higher point. This is
particularly necessary where the drive curves to the right as one goes down-hill, where
it would, of course, necessitate a special arrangement of the catchpits.

While there are many drives in this country where to provide catchpits would be
a waste of money, there are an infinitely greater number which are a perpetual annoyance
to the estate workmen and a continual expense to the owner, all for the lack of a few
well-placed drains
to prevent heavy
rains from scour-
ing the surface.
No hard-and-fast
rules can be laid
down for the plac-
ing of these, but
of course, the
steeper the drive
is, the more will
be necessary. The
grate should be
twelve inches by
eight inches with
the bars curved to
make it hollow
towards the cen-
tre and with a
lip standing above
the level of the
frame at the lower «-- ^
end to check any tendency for the water to shoot right over it. The chamber under
the grate may be built of dry bricks, i.e., without mortar or cement, and, to carry the
water away, stoneware pipes are better than earthenware, except where laid exceptionally
deep, as the latter are more apt to be broken by the traffic passing over. Where the
drive is at all steep, they should have channels at the sides to withstand the wash of
rapidly running storm water. Undoubtedly the most aesthetic method of providing these
is by cobble paving, as in illustration No. 102, where this method would be in keeping
with local characteristics, as in a district where flints abound, or where cobble paving
is much used in the older building works, while in a brick district a channel constructed

Crowning.

CUT THROUGH SOLID ROCK.

Catchpits .

Width of

drives.

Cross levels.

Fencing of
steep banks

DRIVES, AVENUES, AND SERVICE ROADS.

of ordinary stock bricks looks as well as anything. Where the rush of water is likely
to be at all great, either cobbles or brick should be laid in cement, and this is at all
times the best method in the former material, as otherwise the numerous joints will
grow a crop of weeds, which will involve many hours' labour in the Spring and early
Summer.

The widths of drives must again depend on many circumstances, and do not admit
of solution by the application of preconceived dogmatic formulae, but in no case, except
where the drive is a mere carriage sweep of a few feet long, should it be less than about
twelve feet broad, while for drives over two hundred yards long which are likely to be
used constantly, sixteen feet is the best width. It would seem almost unnecessary to
state that the same width- should be carefully adhered to throughout the whole length
of the drive unless under special circumstances, but observation shows how very few
drives do this, giving the whole a ragged effect which no amount of care for the surface
or verges can possibly remove. It has already been stated that the width of service
roads should be carefully proportioned to that of the main drive. They may be any-
thing from eight feet wide upwards, this being the narrowest roadway which will take
an ordinary tradesman's cart.

The whole effect of a well-planned drive may be ruined by neglect of the banks
at its sides where there has been interference with the natural levels of the ground. The
artistic management of cross levels demands greater attention than is usually bestowed
upon it, and this is particularly so where, to insure an easy gradient, the drive follows
a winding course through an undulating park, sometimes entailing a deep cutting and
at others an equally deep filling, or where it encircles a hill with a cutting on the high
side and a fill on the lower. In any of these cases there should be a level verge on
either side of the drive at least two and a half feet broad with the bank beyond it
arranged in reversed or " O.G." curves to connect with the natural levels (111. Nos.
103 and 104) .

FIG. IO3.

FIG. 104.

The protection of drives where there are steep falling banks on one or both sides
is often necessary, for horses sometimes become very nervous when passing along them
for the first time. A simple horizontal bar about three feet three inches from the ground
and supported at intervals of about ten feet by a stout post will provide all that is
necessary to give an assurance of safety.

The planting of the banks of drives and the treatment of their terminations, are
referred to in another chapter.

cr.

ft!

CHAPTER VII.

Very gratefully do the average mind and eye accept the steadying foreground stroke
and clean-cut measuring line secured by the levelled areas and symmetrically planned
walls or banks of a well-balanced terrace scheme, against which to measure the freer
effects of foliage and the imaginative mellowness of distances.

There are, of course, many capacious minds true to the characteristics of the rough-
and-tumble Briton, whose ideal is absence of regularity, and who prefer that everything
shall be spontaneous, fresh and warm from the fountain, with nothing in any sense
of the word conventionalized. Whatever the personal preference however, it may be
taken as an axiom that the immediate surroundings of an English home must, before
all things, possess and express a spirit of restfulness, a quality which is generally
secured most effectively by means of a more or less formal terrace scheme.

Although some form of terrace is shown in connection with nearly all the gardens
illustrated in this work, it is not intended to insist on this feature as a necessity. There
are notable instances where there is no regular terrace scheme, but every landscape architect
whose work has obtained recognition agrees that, in all but the most exceptional cases,
to give a proper connection between the house and garden, a formal arrangement near
the house is essential, and domestic architects who have undertaken the design of the
garden have always made the terrace an important part of their scheme.

A terrace is considered by most people as a raised platform, often a mere strip
of walk some eight or ten feet wide, occupying the ground between the house and garden,
the purpose of which is not very clear, as it can scarcely be considered as a part of
the garden scheme and the residence apparently disowns it.

It is not in this restricted sense that I propose to deal with its design and construc-
tion, but rather as the whole plateau on which the house stands, together with the level
enclosures referred to elsewhere as outdoor apartments, forming a part of the archi-
tectural scheme. These, in many cases, include, in addition to the main terrace a
series of flower gardens at varying levels, each portion so arranged as to be com-
plementary to the others and the whole forming one comprehensive plan.

The terrace scheme being in such close contact with the residence, and probably
the most prominent feature in the more ornamental portion of the grounds, it is neces-
sary that, in desiging a new garden, it should have consideration before other portions
are dealt with. While the terrace cannot be divorced from them, but must be designed
in relation to them, it will usually be found that, at the same time, its design very
largely decides the main lines of the whole scheme so far as they are not already fixed
by the contours and other natural features of the site. To what a great extent this is
true will be at once evident on examining the accompanying plan of gardens at Angle-
villiare, near Paris, designed by the Author (111. No. 107). Here vistas of paved walk,

Restful
effect of
terraces.

Terrace not

always

necessary.

.Esthetic
purpose of
the terrace.

Terraces
dominate
entire
scheme.

TERRACES AND TERRACE GARDENS.

flower garden, ornamental water and green glade all centre on and have their purpose
in connection with the terrace scheme.

The methods to be adopted in this important work have already been briefly
indicated in Chapter III. As is there explained, the terrace being the centre round which
the pleasure grounds or woodlands are arranged, attention would first be directed to
discovering and framing those features visible from it which have in them the elements
of the picturesque, or which in any way give character and individuality to the site.
" Nothing," says Sedding, " is prettier than a vista through the smooth-shaven green
alley or an archway framing a view of the country beyond," and it is for the creation
of such effects that the designer must aim in the arrangement of his terraces and par-
ticularly their steps and the placing of seats, arbours or bastions so as to emphasize
them when created, at the same time taking care that the balance and symmetry of
the scheme as a whole are not endangered in the treatment of individual features.
Adapting The points of ' special interest having been noted we may proceed to arrange the

terrace widths and levels of the various terrace plateaux on an axial section line such as that

levels to fall described in Chapter III., and shown in illustration No. 12. The resulting areas having
of ground. been pegged on to the ground, a " grid " of levels should be taken at points either ten,
twenty-five or fifty feet apart over the whole of each of them and an average struck
which will more accurately determine the finished level of each portion of the scheme.
Where the filled-up portion of the terrace is supported by a retaining wall, the fact
that the excavated material will occupy more space than it did before removal must
be taken into account, but where grass slopes are formed where the level of the ground
is raised, this will not be necessary as the amount of surplus material will be just about
enough to make up the slopes.

Termina- More terrace schemes fail through the lack of decisive and marked terminations

lions of than from any other cause. While a bold and effective treatment may be given them

terraces. in their relation to the main facade of the house, and the whole scheme is centralized

by the planning and scale of symmetrically placed steps and bastions, the ends of the

terrace are allowed to :' fade away " as it were into the less conventionally planned

portions of the grounds. In
many cases it has obviously
been felt that all was not as
it should be, and additional
central features, such as
heavy and over-elaborated
flights of steps, are added so
that the eye is drawn away
from the weak extremities.
Such palliatives are, of course,
worse than useless, and
nothing but full recognition
of the fact that the strongly
marked cross lines of the
terrace balustrade and paths
themselves form a vista,
which must be appropriately

closed at its termination, can supply a corrective. In the plan of the gardens just referred
to (No. 10), the door to the kitchen garden would be so designed as to supply the
necessary emphasis, and in other cases a small arbour, a boldly proportioned bastion, a
seat with a little pentroof over it backed against the wall, or a circular seat like that
shown in (No. 106), with a screen hedge behind, might be substituted.

FIG. 106. — THE END OF THE BOWLING GREEN, FOOTS CRAY PLACE.

TERRACES AND TERRACE GARDENS.

HOUSE w GARDENS

FIG. 107.

TERRACES AND TERRACE GARDENS.

Widths of
terraces.

pies.

Much space has been devoted by writers on garden design to the length and width of
terrace gardens, but, as will be seen from what has been already said, this is a question
which very largely decides itself. Except where a raised plateau is being specially
made on an entirely flat site, on which to place the house, it will be governed by the
contours considered in relation to the height which is desirable for the retaining walls.

. For instance, if the average fall

, _88-0-_ +_ »•,-_ I* m No. 108 is one in fifteen, and

i ^H" ^aUte— *t ig decided that retaining walls can-

' *^r FIG. 108. n°t be made higher than will support a

bank of earth four and a half feet high

without appearing clumsy, the result will be as shown, and the proportions between
the widths of the two terraces will also be fixed between very narrow limits, for moving
the upper terrace wall would immediately throw the finished level too high or too low
in relation to the floor level of the house. The broader the terraces on a given slope
the higher the terrace walls, and so it becomes a question of so adjusting the breadths
as to guard against crampedness on the one hand and repellent-looking engineering feats
in the walls and their steps which may look too much like fortifications if too deep and
heavy. In those exceptional cases, however, where the conditions allow a choice of widths,
the terrace next to a mansion of average height and frontage should not be less than
twenty-five feet wide, while for the lower terraces, one hundred and twenty feet by sixty
feet, or larger in the same proportions, will generally be found suitable.

Only by adapting the terraces to the natural levels of the ground can we secure
that restfulness and harmony between the home and the landscape which are so desirable,
and obtain harmonious composition whether they are viewed from the mansion or sur-
:ounding gardens. Any attempt to act independently of the contours will result in
giving the whole an air of artificiality which will be instinctively felt by the beholder
without his being able exactly to account for it.

r CKIM4LEMIKE

FIG. 109.

The importance of fitting the house and garden to the natural contours of the
ground is shown on illustration No. 10. Here each of the four garden levels can be seen
from the window of the great hall, while on the North side the kitchen garden is
hidden, with the exception of the central walk, between the herbaceous borders. On this
site the cross fall is fairly even, but in the greater number of cases the falls or rises
are at varying angles and gradients on each side of the house.

TERRACES AND TERRACE GARDENS.

In some cases the terraces may even rise from the house on one side while they
fall on another, as at Blicking Hall and Tissington and partly at Haddon Hall, or as
at Graythwaite Hall (No. 399), and again at Wood, in North Devonshire (No. 409).
Everything depends on the natural fall of the ground.

Although terraces are usually level, circumstances may sometimes arise which will Terraces
allow them to follow to a limited extent the slope of a steep hill, as in the hillside with « cross
garden designed for Henry Martin, Esq., of Windermere (111. Nos. 109 and no). Again,
on very steep hillsides, or where the whole face of the country for a mile or more in
each direction slopes all
one way, a terrace
finished to a true level
would appear to dip
into the ground on the
side which originally was
highest, to rectify which
it may be necessary to
give the surface a slight
cross fall of, say, one foot
in fifty in the direction
of the slope of the hill-
side on which it stands.
In fact, there are few
terraces, even where the
ground below them
slopes only slightly,
which would not be
improved by a drop of
a few inches from the
side nearest the house
to the retaining wall.
As, however, the greater
part of the filled-up
portion is on the side
farthest from the house,
this is a matter which
usually takes care of
itself, for after the
ground has been made
as solid as possible and
paved or gravelled to a
truly level surface a
little settlement in the

filled portions is sure to take place. Nevertheless, every effort should br made to get the
ground solid before finishing the surface, or the settlement may be excessive. In some
districts this is best done by watering with a hose, but in most materials, ramming
must be resorted to. Even after thoroughly ramming or watering, or both, time must be
allowed to elapse before the surface is made up, and some settlement may go on for
twelve months or more where the filling is deep or the material contains much fibrous
or other organic matter.

The various levels of a terrace scheme having been decided upon it becomes neces-
sary to consider the treatment of the lines of division between one level and another.

FIG. 110. — TERRACED EFFECT ON A STEEP HILLSIDE.

TERRACES AND TERRACE GARDENS.

Grass banks
or walls.

jo- a' —

FIG. III.

Treatment
of terrace
walls

There are numerous ways of doing this, but either walls or grass banks are the ones
usually adopted.

Grass banks have the advantage as regards first cost, but, on the other hand, there is
the constant cost of upkeep to be considered, which may make the wall really cheaper in the
end. Where grass banks are adopted, they should slope at an angle which will give a rise
of one foot in every two feet of horizontal breadth. Not only is this a most convenient
slope to fit steps to, but a steeper bank is very apt to " burn " in hot weather, that is

to say, it is so naturally dry
that the grass is scorched
and deadened. On the
other hand, a natter bank
is apt to give a very un-
decided line of demarcation
between the levels it
separates. ^Esthetic considerations are usually all in favour of a wall. Not only is a flower
bed difficult to arrange satisfactorily at the foot of a slope, but the bank will usually
remain a bare expanse of shaven grass and therefore not be sufficiently differentiated
from the lawns above and below, whereas the wall would very soon be garnished with a mass
of roses and other free-flowering climbers. Where the difference of level between the two
terraces is unusual in either way, a wall is again indicated, for very deep banks are
difficult to mow and very shallow ones are
ineffective. Quite a terraced effect can be
got with a difference of level of as little as
one foot, if supported by a dwarf wall with
the coping standing about six inches above
the higher ground level, but with a grass
bank such a slight rise would usually be
almost entirely lost. Such a wall may be seen
on the plan of a garden at Berkhamstead,
shown in illustration No. 385. In many cases,
again, the amount of ground occupied by a
bank is a consideration. If a wall is sub-
stituted it can be saved for a broad border
at its foot (see 111. No. in).

Most garden lovers prefer a wall over-
grown with climbers, yet are deterred from
erecting one, fearful of incurring the cost of
such a feature, and therefore adopt a slope
laid down with grass, or planted either in
an informal manner or with a variety of
shrubs. The cost of a wall, however, depends
entirely on its elaboration and enrichment.
If the architectural character of the house
demands in its immediate vicinity a pierced
or balustraded finish, which of itself may
cost twenty shillings per foot run or even more for the pierced work only, the outlay,
for an extent of wall so erected, would, of course, be heavy, but there are comparatively
few occasions on which such elaboration would be in keeping with the architecture.

Where they are not discordant with the scale and effect of the house, terrace walls
of simple design, built in local material, may often answer all purposes more effectively
than elaborate erections, and, when covered with hardy climbers, look equally interesting,

FIG. 112.

TERRACES AND TERRACE GARDENS.

<A
W

o
w

CA)

Height of
walls.

Balustraded
walls

Harmony
with

residence
necessary.

TERRACES AND TERRACE GARDENS.

or even more so than any other. Illustrations Nos. 112, 113 and 114 demonstrate ' this
point. The first shows a terrace wall in brick in the Home Counties, and the other two,
how well the black slate of the Lake District, with its necessarily massive construction,
harmonizes with its rugged surroundings. Most of the terrace walls designed in connection
with the gardens illustrated in this work are finished with a simple flag coping. Some
have battered walls, and others have the surface broken up by pilasters or by sloping
buttresses with balls or sugar-loaf finials over each buttress and lead urns or large vases
to mark the sides of steps or angles. A retaining wall with the coping only a few
inches above the inside ground level is usually sufficient where the difference in the levels is
not more than three feet six inches, while for cases where the difference is greater, some form
of protecting wall or balustrade, such as those shown in illustrations Nos. 118 and ng, is
necessary. There are cases where there is not justification for a balustraded wall and yet
the terrace looks unfinished without it. In such instances, a hedge of yew, privet or
cotoneaster, planted close inside the dwarf wall, trimmed perfectly square and kept quite
low, will be useful.

The height of walls above the finished ground level on the higher side may vary
from the dwarf wall just considered up to three feet three inches, the latter being known
as :< leaning height." Unless the fall to the lower terrace exceeds six feet, the best
height for a solid wall is seventeen inches or " sitting height," while, for deeper terraces.
it is safer to make it from thirty-three to thirty-nine inches high.

Pierced or balustraded walls are seldom a necessity. In their favour it may be
urged that, independent of the architectural effect, they add to the beauty of a terrace by
allowing more to be seen of lower lawns and flower gardens than do solid walls. When
the terraces are formed on the side of a steep hill and are therefore necessarily narrow
and deep, as in illustrations Nos. 116 and 117, the openings allow more of each level
to be seen, and when viewed towards the house, they prevent the garden from appearing
as though entirely formed of walls.

A terrace wall cannot, however, be considered as a feature separate and distinct
from the architecture of the residence. A brick or stone mansion in the style and
of the period of Inigo Jones, or a modern residence in which stone and brick are
combined in the same way, require similar terraces. If stone dressings are used in
the house they must also be used in the terrace walls ; they might not extend beyond
the quoins and coping, but in some form they are necessary to secure harmony.

Simplicity is to be aimed at, yet there are many instances in which it is necessary
to use ornament. The charming examples of balustraded walls at Montacute, Brympton,
Wilton, Haddon, etc., are each indispensable to the success of and show a pleasing
fitness to the garden they adorn. Pierced walls accord with houses which are light
in design, like some of the later Tudor residences, while iron bays between stone piers
often form the best balustrade to a Georgian residence. As already mentioned in the
chapter dealing with garden walls, quaint use may sometimes be made of local materials,

such as land tiles and ridging tiles for small or very rural
gardens, but there' is a distinct danger of extravagance which
must be guarded against.

To give a clear impression of what is meant by simple
and elaborate terrace walls, a series of designs drawn to scale
of terrace walls designed for gardens planned by the Author,
is given in illustrations Nos. 118 and 119. In addition to the
examples in stone, there is one which may be interesting in its way, viz., a wooden
balustrade designed for the terrace in front of an old house in Staffordshire, while
No. 112 shows a combination of brick with wood balusters. No. 118 shows stone
terrace walls with bays of wrought iron filling in the circular sweeps.

FIG. 115.

TERRACES AND TERRACE GARDENS.

2
en

TERRACES AND TERRACE GARDENS.

E -WALLS • AND

5TONC. • BALUSTEBS

STONt - AECADE.D

rttj.

FIG. Il8.

TERRACES AND TERRACE GARDENS.

TERRACE ~mLL§ • ^ND • BALUSTRADE

BCICK. - & • TILE

SRICtCS • & • '6. E.OUND - TILES -

COPC-

BRICK.- PltRS • WITH • WOOD

FIG.

TERRACES AND TERRACE GARDENS.

Steps. Steps may always be made very pleasing

as well as highly necessary features in a
terrace scheme. They, together with their
flanking walls, lend themselves to a variety
of treatment which renders monotony inex-
cusable, but, of course, use and convenience
should be considered before mere effect. In
nearly every case, both convenience and
effect are enhanced by making the steps
broad and shallow or as the builder will
put it, by making the treads broad and the
risers easy; and the size which I have found
to be most generally useful has a tread
thirteen and a half inches wide making with
the projecting nosing fifteen inches, with
a rise of five and a half inches.

Steps in Where steps are arranged in connection

grass with a grass slope with a batter of one

banks. in two as recommended above, they could,

of course, only have a tread of twelve
inches with a rise of six inches, but the
effect of a tread of thirteen and a half
inches can be obtained by having a pro-
jecting nosing of one and a half inches
obtained by either working a mold on the
front of a solid stone step, or, where the step
is built up of flags, as in No. 115, by allow-
ing the flat stone tread to overhang the
same distance. Where steps accompany
deep terraces, it will be found advantageous
to divide them into two flights, the landing
being so arranged as to allow of a summer-
house or tool-shed below, and a terrace
bastion above, which may often be recessed
sufficiently to take a garden seat, or one
may be built in the same material as the
walls and furnished with a loose lattice
cover. Where, however, the steps do not
exceed ten in number, they may be effec-
tively arranged at right angles to the
terrace, each side of the steps being
supported by side walls, or where this
would cause them to project too far into
the garden below, half of them may be
recessed back into the terrace, and the
other half built as spreading steps without
side walls (No. 123). Spreading steps are
those formed without side walls as shown
Various m Nos- I2°. I21 and 122, and are most

forms steps usually used where the difference in level
may take. between the inside and the outside of the

OF FECT

FIG. I2O.

FIG. 121.

FIG. 122.

FIG. 123.

FIG. 124

TERRACES AND TERRACE GARDENS.

wall does not exceed four feet six inches. They may be arranged as a semicircle
(No. 122), a half octagon (No. 121) or square (No. 120), but whichever shape is adopted,
they should have a very ample spread. In the perspective view of the grounds of Foots
Cray Place, Sidcup (111. No. 415) will be seen a design which combines the best features
of both semicircular spreading steps and a straight flight between retaining walls.
Occasionally in very elaborate flights of steps accompanying early classic renaissance
mansions, the balustraded side walls are curved so as to make the steps broader as
one proceeds down them. This arrangement has much the same effect as spreading
steps, and exactly the same raison d'etre in allowing the steps to be approached
obliquely from below where a path runs right and left from their base.

Where the terrace is supported by a very low wall only two or three feet high,
steps of great width may be made to add to the effectiveness of the terrace. Thus,

Width.

FIG. 125.

FIG. 126.

for a summer-house having a central verandah, I proposed steps thirty feet in length,
extending across its full breadth, the work, when carried out, producing a pleasing effect
at a small cost.

Long flights of steps give the Landscape Architect his opportunity both to invent
easy and convenient connections between varying levels and also to secure striking
effects. To obtain the first, change of direction and frequent half-landings are essential,
with seats or rest-houses at points of interest when a great number of steps is necessary.
Unless, however, alternative sloping paths are provided for reaching the higher levels,
repetition of flights on the same axial line should be avoided. The magnificence of the
great stairway at the Villa d'Este at Tivoli is often quoted as the grand model for a
series of steps, but those who know these gardens will remember the numerous more
easy ways from one part of the grounds to another. As an example of a change of

Long
flights.

TERRACES AND TERRACE GARDENS.

Construc-
tion of
steps.

Surfaces of
terraces.

direction, here (No. 125) is a plan and elevation of a terrace scheme on a mountain
side, the total drop of twelve feet being divided into twenty-six steps. A second drawing
(No. 126) shows the solution of a similar problem but with a rise of only nine feet,
while the third (No. 124) gives another arrangement where a sense of ease is secured
by spreading out the steps. Here the rise is about six feet six inches.

Steps may be constructed in a variety of ways with different materials to harmonize
with different styles of architecture. We have already spoken of those cut from solid
blocks of stone and
those built up of
flags. Others may
have the tread of
flags and the risers
built in rough local
stone or brick, or,
where an even freer
treatment is called
for, the flag may be
a narrow strip along
the front of the step
and the back be
filled in with cobble
paving. Where the
architecture of the
house and terrace
walls is of brick,
especially where a
wooden balustrade
is added as described
above, effective steps
may be made to
match, with a strip
of English oak about
four inches wide and
three inches deep
along the front of
each step, the tread
at the back and the
riser below the oak
being built of rich
brown-red brick.

Terraces may
have their surfaces
finished in many

ways, and those not immediately before the house will form gardens of various kinds.
That which is right under the windows of the principal rooms and which is usually a
comparatively narrow outlook promenade from which the rest of the grounds and the
prospect are viewed, will, however, need special treatment. If it is to fulfil its purpose
it must usually be available for promenading at all seasons of the year, and this means
that, to provide a dry path underfoot in the Winter, it must be flagged or paved in
some manner. It is not necessary, of course, that it should be paved all over. Sometimes
panel-shaped flower-beds will be cut out of the paving, in others there will be a paved

FIG. 127. — PLAN OF GARDENS AT THE GRANGE, WRAYSBURY.

IOO

TERRACES AND TERRACE GARDENS.

path with grass at either side with or without flower-beds in the grass, or there may
be a flower border with a stone edging on that side of the paved path nearest the house
and grass on the other side. A still freer treatment would be obtained by having a
gravelled path with a row of flags down the middle, making a line of paving about
two feet six inches broad, or a similar strip of flags might be laid with cobble paving
on either side. Such arrangements open the way for harmonious colour schemes where
these would be in keeping with the architecture ; for instance, in a South Cumberland
garden, one might combine the rich red St. Bees sandstone with the blue-grey local cobble
paving, and in other districts one may have cobbles and brick, cobbles and stone, or
two colours of slate, blue-black and green, or two shades of green.

The formation of flower gardens and lawns is dealt with elsewhere and it is only Flower beds
necessary to deal with their application to the terrace scheme. Generally speaking, beds on the

terrace.

FIG. 128. — TERRACED EFFECT BY LOWERING GROUND AT LEES COURT, FAVERSHAM.

of a definite panel design and divided by narrow walks of a medium width of two feet
six inches are often better than those cut out of grass. Where grass is preferred as a
background, the widths between the beds should be greater than for gravel or paving
as narrow strips of grass are constantly losing their shape and level appearance. The
proportion between grass walks and borders will need arranging very carefully, and one
•or the other should predominate, and the others be made subservient to it in the scheme
•of decoration, or the result will suggest a muddle.

Tennis and croquet lawns and bowling alleys, the sizes and practical formation Games — •
of which are dealt with in Chapter IX., in their demand for level unbroken stretches lawns on
of greensward, are peculiarly suited to the terrace scheme. Their inclusion has also the terrace.
the advantage of placing them near to the house, and in those numerous instances
where a narrower higher terrace overlooks the broader one on which the game is played,

101

TERRACES AND TERRACE GARDENS.

102

TERRACES AND TERRACE GARDENS.

PLAN OF C
GARDENS AT
LEES COURT

c^/IZU i

FIG. 130.

103

Gardens too
flat for a
terrace.

Terraced
effect by
formation
of sunk
gardens.

TERRACES AND TERRACE GARDENS.

a convenient point of vantage from which to view the players is obtained while the
tea-houses, covered and shady seats, stores for nets, racquets or bowls, and other
necessary architectural adjuncts of such quiet games, can be made a part of the scheme
for the terraces.

Most of the gardens illustrated have tennis lawns placed close to the house, and
in positions overlooked by the principal appartments. Nearness to the house is the
more necessary where the lawn is to be used exclusively for croquet, the game of pure
skill, in which neither robust natural force nor physical endurance secure an advantage,
and which is therefore peculiarly adapted to elderly people, who would be induced to
play often if the lawn were very accessible. For this reason, it should be protected
from East winds and in other ways be made as snug as possible by the provision of
sheltered seats and arbours, and where necessary, should also be enclosed by stout yew
or holly hedges.

Many persons express disappointment because their gardens are all on one level,
and they therefore conclude that it is useless to attempt any distinctive arrangement,
and in particular, that any substitute for a terrace scheme is impossible. I am induced
therefore, (though perhaps somewhat out of place) to give a plan of the gardens laid
out for G. M. Freeman Esq., K. C, at Wraysbury near Staines (111. No 127), omitting for
want of space a formal lily pond at the end of the tennis lawn.

The point which it is particularly desired to emphasize in this scheme, is that,
although it is impossible, from the level nature of the site, to obtain even a slightly
raised plateau, still the whole spirit of a terrace as well as its practical advantages
has been caught in the paved panel garden in front of the house which is more plainly
shown in the photograph (111. No. 129). It will be seen thus that no one need despair of
obtaining a terraced effect even on a flat site and this effect can be considerably helped
by the formation of sunk gardens, thus obtaining greater contrast in the levels. A
Typical example is shown in the illustration of the gardens at Little Onn Hall (111. No. 405).

A successful experiment in this direction on a somewhat extensive scale is shown
in illustrations Nos. 128 and 130, which represent gardens laid out at Lees Court near
Faversham, the ancestral home of Earl Sondes, for Mrs. Halsey. The main garden is
on the South front of a fine example of Inigo Jones' work, now unfortunately almost
entirely destroyed by fire. Here a good low terraced effect was obtained by sinking
the rose garden and forming the broad central grass walk at a level of two feet below
the main flagged terrace as shown in the photograph and indicated on the section at the
foot of the plan. This method of obtaining a terraced effect by the formation of sunk
lawns can often be adopted with great effect, especially on light, well drained soils.
In wind-swept gardens such as are often met with along the coast, they not only give
elevation to the house and variety to the garden, but also ensure sheltered spaces for
flowering plants.

It may also be pointed out that a flat piece of ground usually possesses the
quality of breadth so difficult to obtain on a hillside and, in treating such a site, the
fullest advantage should be taken of the least rise or fall, so that, as previously stated,
slight differences of level may be emphasized. The mistake made by many garden
designers in the past has been in endeavouring to produce unnatural undulations and
mounds, instead of aiming at retaining the predominating quiet peacefulness which the site
already possessed, making everything harmonize with it.

104

n B: "»

•

FIG. 131 ---ROSE GARDEN, NEWTON GREEN HALL

FIG. 132. — SUMMER-HOUSE AND PERGOLA IN ROSE GARDEN, NEWTON GREEN HALL.

HCWER. GARDENS

BEDS
RDERS

scheme as a
whole.

CHAPTER VIII.

In the immediate provision for flowering plants, we reach what is, in one way, the
culminating point in our subject, for not only are they the finishing touch in the com-
position, the feature up to which everything else in the whole scheme leads, but they
must appeal to every garden lover, for, unlike many other items of garden equipment,
their use is essential to every class of domain, be it large or small.

Whether the garden be formal or informal they are equally necessary, if it is to fulfil Importance
its function worthily, though there is no doubt that the architectural gardener is more °f flower
entirely dependent on them than the landscapist, for while in his case they form an ^
integral part of the scheme, in the landscape garden they are often incidental and super-
added adornment, and may even be intruded in such a way as to detract from the
tout ensemble, as when flower beds cut up an otherwise well-arranged lawn.

It is not too much to say that, while the landscapist could form a garden with the
sole aid of trees, shrubs, greensward and water, the formal gardener depends on flowers
to clothe his balustraded walls, drape his pedestals, break up his flat areas, give vivid
colour contrasts against the dark green of his clipped hedges, and everywhere relieve
angularity with the waywardness of all growing things. All architectural gardening is, in
fact, designed from first to last either as a background or skeleton for flowers and
climbers, as when the arbour is covered with rampant foliage vines, or to stand in bold
relief against a mass of greenery like the statuette in its alcove of yew, or to give point
and centralization to the grouping like the sundial in the centre of the rose garden ; and
this dependence on the best that our gardens can show is to our mind, all in his favour.

In the landscape garden of fifty years ago, when terracing had fallen almost en-
tirely into disuse, garden designers succeeded in obtaining many pretty effects by the
arrangement of gently undulating lawns with shade trees on the outer fringe and as occasional
groups on the lawn, and such gardens were usually embellished with a series of flower
beds arranged in an orderly manner. The same system has been largely copied in
American gardens and, it may be added, often with fine effect, especially when the house
is in the colonial Georgian style, frame-built and painted white. Under such conditions
the strong colours of geraniums, begonias, and verbenas give cheerfulness to the garden.
In the British Isles, a similar treatment of beds and lawns is often very effective, but
quieter colour effects are to be desired.

Nevertheless, however informal the planning of a domain as a whole may be, even
though wild and rocky gardens predominate, flower borders, being essentially an artificial
product, invariably result in a part of it being treated in a more or less formal manner.
Indeed, it would almost seem that their use forced the so-called informalist or landscape

107

FLOWER GARDENS, BEDS AND BORDERS.

Flower beds
in formal
and

informal
schemes.

Form and
shape of
beds.

gardener to become the most pronounced formalist. This only proves that every man
who approaches the subject of garden design intelligently, comes to recognize the value of
contrast, colour and rhythmic order, as not only characteristic of, but essential to, every
well-planned scheme.

There is this difference, however, that while in the formal scheme the flower beds
are usually grouped round the house as the decorative accompaniments of the residence,
in the landscape garden they are treated as " places apart," except, perhaps, for a
narrow border round the house and a few beds along the main walk. This is quite a
logical outcome of the positions of the two schools of garden design, the first of which
aims at a geometrical composition softened by Nature, while the latter produces one based
on natural landscape, but with parts emphasized by art.

Nevertheless both schools have much in common, one of the most important points
being the correct proportioning of colour spaces, together with the tone of the colouring
and the question as to the season when each bed or portion of the composition should
be at its best. If, for instance, there are large groups of rhododendrons which provide
sheets of vivid and alternating colour in late Spring, but are masses of monotonous green
in summer, the flower beds and borders should be at their best in July, August and
September, for rhododendrons in full bloom in June will not brook competition.

Other important points common to all flower gardens, are the formation of the borders
themselves and their size and shape. With regard to the former, it is of the utmost im-
portance that both the preparation of the soil and drainage should be thoroughly well
done in the first instance, as the success of the garden depends entirely upon this.
As to the methods to be employed, all that is said in Chapter XV on this subject applies
equally to the flower garden, and it is only necessary to add that the object should be
to form a soil neither too light nor too heavy, but lighter in a naturally moist situation
and vice versa, except in the rose garden, where a heavy clayey soil is demanded, as rose-
trees prefer this. In any case, too, flower beds should not be formed round shrubberies,
or near large trees or shrubs, which unduly rob the bed or borders of their nutriment.

The adoption of simple forms of flower beds and the avoidance of purile and ridiculous
shapes would seem a matter which would need no urging, yet a visit to almost any garden
will show how necessary a word of caution on this subject is. It is not that attention
has not been drawn to the matter by writers on gardening, for even a hundred years
ago, Nichol, who styled himself " the Horticultural Architect," wrote :— " A variety of
forms (of beds) may be indulged in, without incurring censure, provided the figures be
graceful, and not in any one place too complicated. An oval is a figure that generally
pleases, on account of the continuity of its outline ; next, if extensive, a circle. Next,
perhaps, a segment in form, of a half moon, or the larger segment of an oval. But hearts,
diamonds, triangles, or squares, if small, seldom please. A simple parallelogram, divided
into beds running lengthwise, or the larger segment of an oval, with beds running parallel
to its outer margin, will always please." By "half moons" no doubt the writer meant semi-
circles as crescent shapes are not only difficult to fit in with a design, but are the worst of
all forms for effective planting.

The shape and size will, of course, be largely influenced by the size of the par-
terre and the nature of the flowering plants to be used, but in any case, fancy patterns
are to be avoided, the simpler the design of the beds the better. Compare the number
of flowers which can be grown in an oblong, say, twelve feet long and five broad, with
the amount grown in beds of the same superficial area divided up into curves and acute
angles. In the latter instances, although the same quantity of soil surface is provided
and more room is monopolised, the beds are not available for plants in the same way as
in the simple oblong, because in the oblong every inch can be planted, while in the others
there are long narrow points to each bed which are more or less useless. Quite apart

108

FIG. 133.

FLOWER GARDENS, BEDS AND BORDERS.

from these practical considerations, however, simple forms are best, for those having com-
plicated shapes are distracting to the eye and claim attention for their own sake, whereas

they should be considered as a background to the flowers and not as a competing feature.

Plain oblongs cannot always be employed, of
course, but these relieved by circular beds, such
as those shown in, the accompanying sketch
(111. No. 133), or the other arrangements shown
in illustration No. 134, are adaptable to a

large number of cases where beds line either side of a path, and may be further varied

by the insertion of posts for climbing roses at regular intervals, or rose arches across

the path. The plan of the panel garden at

Wraysbury, near Staines (111. No. 127), show an

effective and simple arrangement of beds which

will bear repetition, or might, whilst retaining

the general characteristics, be alternated as in

illustration No. 135. The spaces between the

beds should not be too great where they are

divided by gravel paths, or the gravelled area

will appear obtrusive, but where the beds are

cut out of grass, the remaining strips between

them should be wide enough to take a mowing

machine and to allow of the necessary trampling incidental to the care and trimming of

the plants without growing bald.

A further important point is the provision of beds large enough to allow of the plants Arrange-

FIG. 134.

being arranged in masses. Every student of the works of those artists who make a special
study of garden subjects for their paintings, will realize how one and all, they glory in

large masses of brilliant colour produced

J-^ ._ jcmr OF rtET by growing a quantity of one sort of

plant together. Many years ago, Mrs.
Siddons, the actress, in her own garden
on the Harrow Road, set this most
estimable fashion, and one can only
wonder that it has not been more
universally followed. The sizes of the
beds for this purpose must, of course,
be regulated by the scale of the flower-
ing plants they are to accommodate ;
for instance, borders in which oriental
poppies, anchusas, delphiniums and
hollyhocks are to be planted, must be
wide, and should be long in propor-
tion to their width. On the other
hand, beds which are to be filled with
pinks, lavender, and plants of similar
scale may be much smaller. A good average width for a border to be planted with the
larger herbaceous plants is nine feet, while beds for smaller things may vary from this
down to only two feet broad.

Again both formal and informal gardens may have their parterres devoted to one
special class of plant or flower, as in the case of the rose garden, herbarium for medicinal
plants, or the Alpine garden. Hogg, the poet, writing of the flowers which were
fashionable in his day says, — " In some particular instances I am disposed to copy the

masses.

FIG. 135.

FLOWER GARDENS, BEDS AND BORDERS.

Dutchman, and I would have my beds of hyacinths distinct, my tulips distinct, my
anemones, my ranunculuses, my pinks, my carnations distinct, and even my beds of
double-blue hollyhocks, violets and dwarf larkspurs distinct, to say nothing of hedge-
rows of different kinds of roses. Independent of the less trouble you have in cultivating
them when kept separate, you have, as I said before, beauty in masses, and you have
likewise their fragrance and perfume so concentrated that they are not lost in the air,
but powerfully inhaled when you approach them."

Rose Of all the flowers which repay the provision of a separate garden and individual treat-

gardens. ment, the rose by popular consent has first and unquestioned claims to special consideration

and choice of position. No other flower provides such a number of varieties with such
a wide range of effects and, at the same time, an extensive flowering season. The
compact bedding varieties, standard pillars and rampant climbers for training over
the high ugly wall, clothing the pergola or draping the summer-house, each have their
distinctive habit, so that, in a representative collection, monotony is impossible.

Though such gardens are usually placed
near the residence or in direct communication
with it, this is not always so. For instance,
where a house is built in a position of
great natural beauty, it may be desirable to
leave the surroundings as far as possible in
a state of nature. This is often wisely decided
upon, though it needs infinite skill and
patience to harmonize the distinctly artificial
with the obviously natural. The transition
between them is often supplied by means of
close-shaven undulating lawns, interspersed
with groups of ornamental trees, conifers or
rhododendrons. The transition thus attained
is not always quite successful, and could
have been managed better by gardens, which
whilst distinctly geometrical in design, would
not be assisted by any architectural accessories.
In many such cases the situation will be too
barren and bleak for roses, and thus the
garden will be placed elsewhere, but, in those
cases where they would succeed, no class of
flower is so well adapted to producing the

right note as the briars and single hybrids which would harmonize with the natural
scenery, while, nearer the house, pillars, arches or festoons of some of the innumerable
climbing varieties would provide a suitable setting for the architecture and would enclose
the formal garden. Within the garden itself each bed might be filled with its own
variety of choice hybrid tea roses, the beds as a whole forming a perfect symphony of
soft colouring.

Gardens The garden devoted to one class of plant or flower may also be placed away from

devoted to the house to obtain the necessary soil and aspect. The transition from rock or dry

one class of arid tracts to bog, which will be found in many gardens in hilly districts, may make

plant this necessary, and provides unlimited scope for the arrangement of gardens of different

sorts, for roses in one part, and rhododendrons or azaleas in another, and so on. These

are the opportunities which, if seized and adequately used, secure individual expression

to a garden.

The allotment of several gardens to distinct classes of flowers is a very good and

FIG.

TREATMENT OF OLD WALLS.

FLOWER GARDENS, BEDS AND BORDERS.

appropriate plan in those English domains which have grown out of farm houses, and where
the old picturesque farm buildings and enclosures have been retained and adapted to garden
uses. Orchards will remain much as they were, and cattle yards and other enclosures be
converted into gardens and green courts, and where this is done with skill and taste,
the result will often fully compensate for the loss of the terrace scheme, with its variety
of levels. The first object should be to give some direct connection between these several
gardens, the openings being treated so as to secure long vistas such as that shown in
illustrations Nos. 137 and 138. An alternative which is capable of producing very pretty
effects is obtained by piercing the wall between two such gardens with a series of arched
openings similar to those shown in illustration No. 136. Whatever other treatment of the
old walls is undertaken, however, the clothing of them with beautiful climbers, trained
to trellis where necessary, should form a definite part of the scheme. The best method of

FIG. 137. OLD WALLS BROKEN THROUGH TO FORM VISTAS. FIG. 138.

dealing with such gardens is to treat the spaces between the beds as paved walks,
edging them with box or stone. Between the various beds forming part of one panel
design, they would be kept quite narrow, say two feet to two and a half feet broad,
while the paved space round each panel would be broader, say six feet across in
ordinary cases.

Illustration No. 140 shows an arrangement which is capable of delightful effects in which
the garden is devoted entirely to roses and carnations, two favourite flowers, which, under
skilful management, harmonize perfectly. The design allows the beds to be changed, should
this be thought desirable, say, alternate years, in order to obtain some of the benefits of
crop rotation. This garden is placed between the walled-in kitchen garden and the well-
known and beautiful pleasure grounds at Madresfield Court, the seat of Earl Beauchamp,
and provides a good and successful solution for a difficult problem, that is, how to tone
down the aggressive lines of the brick walls which are essential to a large garden
where high-class horticulture is pursued.

--HE DGE

. GRASS.

FLOWER GARDENS, BEDS AND BORDERS.

In this instance the garden is surrounded by high yew hedges, the growth of many
years, and trimmed to a number of quaint shapes. The beds are edged with box, and
the interspaces gravelled ; but a design of this kind can often be more economically and
effectually treated as an enclosed grass lawn with the beds cut out of the turf.

Gardens are seldom devoted entirely
to carnations, but, in favourable districts,
a part of the garden might very suitably
be given to them. One of the best
arrangements of this kind which the
writer has seen was a carnation walk,
square beds, each accommodating twenty
plants, being formed on either side of
the walk, there being long borders at
the back, which are planted with other
florist's flowers, such as violas, pansies,
pinks, phloxes, and large masses of the
stronger-growing border carnations, the
whole being arranged as shown in the sketch (111. No. 139). This garden is about a
hundred yards from the house, and has the advantage of a fine background on either
side of native silver birches and Scotch firs, with spaces cleared and planted with
rhododendrons.

/H E DO E .
FIG. 139. — A CARNATION WALK.

FIG. 140. — THE CARNATION GARDEN, MADRESFIELD COURT.

During the later Victorian period gardens were not only devoted to one or two
flowers, but also entirely to the cultivation of hard-wooded plants such as ericas,
dabeoceas, alpine rhododendrons, azaleas, kalmias, sedums and andromedas. Some of these

112

FLOWER GARDENS, BEDS AND BORDERS.

FIG. 141. — GRASS WALK AT LACIES, ABINGDON.

FIG. 142. — IN THE RESERVE GARDEN, FOOTS CRAY PLACE, KENT.

Hous E.

LAWN.

FIG. 143.

FLOWER GARDENS, BEDS AND BORDERS.

gardens are quite formal, others more or less informal, which latter method seems more
suited to the character of the plants, which, while allowing of good grouping effects, are
more closely related to wild nature than to the highly-dressed parts of the garden. Such
arrangements are usually called American gardens, and may often with advantage be laid
out near the outskirts of the grounds, or in connection with the pinetum where one exists.
Herbaceous We have spoken of the formation of

borders. herbaceous gardens in the kitchen garden in

Chapter XV., but there is one consideration
which specially applies to their planning
in relation to the point from which they are
to be viewed. This has more force when
they form a part of the ordinary pleasure
grounds. Owing to the long flowering season
which is usually attempted, there must
necessarily be large areas of soil or flowerless
plants in every border, resulting in a some-
what patchy and unsatisfactory appearance.*
Many devices have been resorted to, to
obviate this tendency of the herbaceous border,

such as filling in the interspaces with annuals and biennials, and indeed, whatever plan
is adopted to overcome this defect later on, some such arrangement as this will be
necessary for the first year. Undoubtedly the best method of preventing the defect is so

to plan the borders that they are usually seen
from one end, and not at right angles to
the line of sight. The result is that, the
perspective being foreshortened, the occasional
large masses of bloom are, so to say, bunched
together, the intervening spaces of soil being
hidden. This means that, where a border is
to be seen from one of the windows of
the house, or through an open gateway, or
the door of a summer-house, it must recede
from the beholder. Of the two accompany-
ing sketches showing herbaceous borders in

relation to the front of a residence, the first (111. No. 143) shows the correct method
of doing this, while the second (111. No. 144) shows the opposite, or wrong, way. These
remarks do not apply, of course, to borders running along the bottom of a terrace wall
parallel to the front of the house, as in the
third sketch (111. No. 145), for, in this case,
the border would be hidden from the house,
and the principal point of view would be at
the foot of the central flight of steps leading
from one level to the other. The two accom-
panying photographs of such borders (111.
Nos. 141 and 142) will show what is meant.
An To illustrate most of the points dealt

example. with in this chapter, a plan is given of the

gardens recently laid out by the Author at Warren House, Hayes, Kent, for Sir Robert
Laidlaw (111. No. 147). This instance is exceptionally suitable for our purpose, as

* Some writers seem to suggest that a well-planted herbaceous border can bloom for eleven months out of
the twelve.

FIG. 145.

114

FLOWER GARDENS, BEDS AND BORDERS.

it was found possible to create a chain of flower gardens extending right round the
domain. The site is flat, though surrounded by beautifully undulating country, and,
before the recent improvements, was covered with rough coppice wood interspersed with
small groups of Scotch fir, which have been incorporated into the scheme.

The residence being of considerable size and no distant views being obtainable from
it, it was obviously desirable to form extended vistas within the grounds. The prin-
ciples on which this has been done is indicated by the radiating lines on the plan. This
fact, coupled with the consideration that the existing lawns round the house were needed
for tennis and croquet, and that the interposition of flower beds near the house would
prevent a co-ordinated treatment of the lawns and accompanying groups of trees, which
together combine to form the vistas, resulted in the beds being laid out in a series of

PLAN^ROSE.
GARDEN

THOMAS H MWUON e -SONS

LONDON LANCASTER.

TORONTO e

FIG. 146.

gardens on the outer fringe of the property. In addition to the new gardens shown on
the plan, a rock garden and dell had already been formed on the West side of the site, and
eventually it is hoped to complete this side by the addition of a water garden. On the
East front, too, there was already a well-planned and furnished rose garden designed by
the late Mr. George Devey, enclosed on the East and South sides by beautiful yew
hedges, and, on the North side, by a brick wall.

In the following description of the new gardens with which the preceding have been
linked up, the figures given refer to corresponding numbers on the plan. Starting
from the East end of the main terrace (i), we have first a new sunk garden (2),
this is enclosed at the end with an oak trellis screen for climbing roses and clematis,
and has beds for roses and carnations cut out of the grass. On a higher level on

FLOWER GARDENS, BEDS AND BORDERS.

either side, (3), there are long beds of roses punctuated by standard Dorothy Perkins rose
trees trained as balloons, the arches which cross the path being planted with choice clematis.
This part of the garden is enclosed on either side by yew hedges. At the far end of
this a curved walk commences which passes right round the estate, connecting the whole
chain of gardens. On either side of this walk are pillar roses (4) trained to scaffolding
poles nine feet high, and between these are planted miscellaneous roses and briars to form
a tangle. The part numbered (5) is arranged as a panel garden, in the centre of which
is a small lead figure of Cupid, while in the centre of each bed is a specially designed
pillar, the line of the latter being continued through the adjoining garden. Over these
are to be trained climbing roses, while the beds are to contain lavender and China
roses. The garden marked (6) is to be devoted entirely to sweet-smelling flowers, among
which stocks and carnations will be prominent. On either side of the steps (7) are
planted groups of azalias, andromedas, kalmias and other peat-loving plants, and on either

FIG. 148. — LEES COURT, FAVERSHAM, BEFORE ALTERATION.

side of the curved walk are planted limes, which are to be pleached into a continuous
canopy overarching the walk, the under side of the pleach being about eight feet high
to admit open views on to the lawns. At the point marked (8) are large masses of
choice rhododendrons, with irregular margins of ericas, sedums, and Ghent azalias of
delicate colours, to harmonize with the rhododendrons. At (9) are herbaceous borders
enclosed with yew hedges. In the centre of the circular end it is proposed to place
a figure representing Spring, surrounded by beds, which are to be filled with Spring
flowers, the long borders, on the other hand, being arranged for late Spring, Summer
and Autumn effects. Against the existing mass of rhododendrons (10) is to be placed a
figure of Autumn, which will form a fitting termination to the paved walk. The beds
at the junction of several walks at the point marked (n) are filled with azalias,

FLOWER GARDENS, BEDS AND BORDERS.

kalmias, andromedas, and Autumn-flowering ericas. Thus is obtained a girdle of interesting
gardens round the grounds, each part of which, while combining to form a delightful
whole, has its own interest and individuality, so providing variety and, whatever be the
season, from early Spring to late Autumn, some part or other which is specially rich
in colour.

Plan of a The plan of a rose garden given in illustration No. 146, and of which also views

rose garden are given (j\\ NOS ^i and 132), provides an example of quite a different kind. Instead
of being part of a connected scheme like the last example, it has no relation to any
definite formal plan, but is treated as a complete unit in itself. As will be seen from
the plan, it, together with its pergola, garden-house and surrounding plantations, has
been adapted to the irregular shape of the plot of ground which was available, and which
also has a considerable fall to the South. It is approached from the stable drive on
the one side, and, on the other, through an old shrubbery walk and wild garden. The
design is dominated by the rose-covered pergola, which is taken as the central feature
up to which everything must lead. The beds are cut out of the grass, and filled with
roses, only one variety being planted in each, the whole arranged with regard for colour,
character of foliage, growth, and degree of hardihood.

We would close this chapter with a reference to a matter which belongs proportion-
ally as much to the next, dealing with lawns, as it does to this. This is the most
mistaken but very prevalent practice of breaking up every expanse of lawn with flower
beds, and so destroying the continuity of line and flowing curves, which are the chief
attractions of a sweep of greensward. Nothing could be more mistaken than the prevalent
idea that a clear expanse of shaven lawn must necessarily have a bare effect, and that
it is essential, in every case, to enliven it with flower beds. Elsewhere we have endeav-
oured to show that lawns should be treated as features desirable for their own sakes
and not merely as backgrounds for something else, though, of course, this must be taken
with limitations as they may be either, according to circumstances. A very pronounced
instance of the mistaken attempt to beautify a lawn by the insertion of beds for flowers
and shrubs is given in illustration No. 148. If this is compared with illustration No.
128, which shows another front of the same residence, it will be seen at once how depen-
dent the severe simplicity of the architecture of the mansion is upon a restful treatment
of its surroundings, and how much of the dignified appearance which such buildings
should have is destroyed by substituting the broken lines of a mass of shrubs and
flowers for the levelled area of the turf. Reference to the latter illustration will also
show that this does not mean that the immediate surroundings of the mansion must be
without that charm which only flower beds can give, but that what is essential is that
the dependence of the architecture on a suggestion of continuity of base line must always
be kept in view in their arrangement. It is further evident too that in such positions,
they must be more or less conventionalized if they are to harmonise with the
architecture, wild free growths being kept at a greater distance from the mansion.

118

S!
<

CL,
W

2
W

~ •

—

QADES
GARDEN WKS

CHAPTER. IX.

How slow we are to learn the lessons of breadth and repose which Nature is so
ready to teach us ! Swayed this way and that by the breath of fashion we first em-
bellish every square foot within and about our homes, then change and go to the other
extreme, and insipid flatness results. Nature's book, free to all who will cast away the
shibboleths of convention and read with an open mind, tells us that striking and vivid
contrasts should be used but seldom, and where employed, should be just sufficiently
marked to emphasize the quiet orderly restfulness of the scenes they enhance. The
contrasts presented by the lordly and rugged oak rising from the smooth meadow with
its gently swelling contours, the towering poplar breaking across the level lines of the
blue horizon, and the graceful tender foliage and white trunk of the silver birch springing
from the face of the rugged precipice, prove the universality of Nature's methods whether
in rural pasture, fenlands or rugged mountain scenery. She has, in the foliage of woods
and forests, vast stretches of beauty, restful in its tout ensemble, yet full of the most
charming detail, or broken masses arranged on rolling grassland in effective groupings,
the verdant grass forming a restful plane on to which are projected the shadows of the
trees in all their varying qualities. Thus, by open stretches of grass, a restful effect is
obtained, relieving the eye of too much detail, emphasizing the beauty of form and colour
in trees, shrubs and flowers, and forming green glades to carry the eye forward into
mellow distances.

In no part of garden design and construction can we learn more from Nature and
her methods in the arrangement of pastoral scenery than in the making of lawns and green
glades. Every bit of rolling pasture is potentially a lawn, and the most distinctive
feature of our English scenery.

Travellers tell us with what pride those in other lands, even in classic Italy, point
to their English gardens, which, however, can only copy their pattern to a limited extent,
for the chief feature, the green lawn, can only be maintained at great expense and as
an exotic, or is altogether lacking. Undoubtedly the fresh greensward which our humid
climate makes possible and natural to our gardens, is their greatest and most distinctive
asset, and, did we but realize this, we should cease to regard grass merely as a back-
ground or foundation for other things and treat it as a feature in itself. We should
cease to break up every stretch of green by dotting it all over with small exotics and
instead, frame it with masses or groups of foliage placed on the higher ground and
leaving the valleys free to form vistas and glades. Just as strains of music, heard
across a stretch of open water, are blended and harmonized, so is detail when viewed
across an open stretch of greensward, and individual trees blend into a harmonious whole.

Green

lawns

distinctive

features of

English

gardens.

121

Formal and

informal

lawns.

LAWNS, GLADES AND GARDEN WALKS.

In no case is the value of plain green turf so evident as in connection with large
public or historic buildings. The plain, green, open expanse of the cathedral close,
which is so essentially an English feature, teaches us many lessons, especially if we
compare it with those instances where, under the mistaken idea of additional adornment,
it has been broken up and dotted over with shrubs. The effect of this treatment is
in every case disastrous, for, whereas formerly we had the level expanse of green
complementary to and emphasizing the vertical lines so characteristic of Gothic
architecture, now we have an area confessedly designed to attract admiration for its
own sake and consequently in feeble competition with the architecture.

We have, in most gardens of moderate extent, two distinct classes of lawn, the
formal and the informal. The first of these includes those recreation grounds so essential
to a modern garden, the tennis, and croquet lawns, bowling greens and possibly a formally

FIG. I5O. — THE BOWLING GREEN, LEVENS HALL.

treated archery or open-air Badminton court, and those level lawns or formal banks
which, together with other details, such as steps, walls, or clipped hedges, form the
architectural setting of the house. The second is comprised of the outer fringe of
grass running off on all sides into undulating lawns, broad grass glades or vistas which
unite the more formal gardens, by easy gradation, with the landscape beyond.

As will be evident from what has already been said in dealing with terrace formation
in the formal or architectural garden, the shapes of the lawns and the proportion they
shall bear to the whole area of each plateau are all predetermined with almost mathe-
matical exactness, the strips and squares of grass in due proportion to the spaces and
terraces of which they form a part, and the tennis and other lawns for games in strict
conformity with regulation dimensions.

122

LAWNS, GLADES AND GARDEN WALKS.

Croquet
lawns.

Bowling
greens.

The making of formal lawns has been already more than incidentally mentioned Tennis
in speaking of terraces and terrace gardens, and the remarks then made with regard to lawns.
obtaining the correct levels for terrace gardens apply equally to the levelling of other
areas for games. Lawns for single tennis courts should, where possible, have a seven-
foot walk all round, thus adding fourteen feet to both the length and breadth of the
playing green, the area of which should be at least one hundred feet by fifty. For use
in the afternoon the lawn should preferably be so placed that the net runs from
North-east to South-west, while for play earlier in the day it should stretch from North-
west to South-east, thus ensuring that neither players shall have the sun directly in their
eyes. A most useful size is one hundred and twenty feet square, which allows of two
courts side by side with the nets placed either way according to the times of the day
at which they are to be used.

For croquet the tournament size is one hundred and five by eighty-four feet, but
an excellent game can be played on lawns much smaller than this. It is, in fact,
to its adaptability to lawns of various sizes that croquet owes much of its favour.

Another lawn for a game which may most
fittingly form a part of the formal garden,
and which is increasing in popularity, is the
bowling alley. The old examples, which appeal
so powerfully to the sentiment of all lovers of
ancient gardens (111. No. 150), were general!}/
long and narrow and protected on either side
by a stout hedge or wall, while, in other
instances, the lawns are circular, or oblong with
semicircular ends, with niched seats and some-
times adorned by lead figures, the main features
of which class have been reproduced in the
bowling green at Foot's Cray Place, shown in

illustrations Nos. 152 and 153. The popular form to-day is a square of about forty yards
long and broad, sunk some two and a half feet below the surrounding ground, the playing
green having a rise of about six inches from the sides to the centre. The raised platform
which thus surrounds the lawn forms a splendid vantage ground from which to
watch the game.

This platform should be screened by a hedge or plantation, and if in the hedge,
recesses are cut for seats, and an arch of greenery is formed over the entrance gates,
the effect will be considerably heightened. Old walled-in gardens which are no longer
required for vegetable or fruit growing, make the most charming bowling greens, having
a quaint old-world air otherwise unattainable, especially if, as in one instance in the writer's
experience, there is an old, solidly built, flag-roofed, and moss-grown fruit room, which
with very little internal alteration provides a cool and shady tea-house.

The formation of lawns for games of any kind where the turf must necessarily
be subjected to much trampling on, demands very careful consideration of the
question of drainage. It is impossible to lay down any rules as to the amount or Drainage
distance apart of the rows of pipes, for, while some soils are so light as to require of grass
practically no artificial draining, others low-lying and waterlogged would be most difficult banks.
to drain by any means.

There is, however, one part of nearly every lawn which will need extra care to keep it
from becoming waterlogged, and that is where it has been excavated out of the hillside,
and consequently a bank or retaining wall has to be made, connecting the old level
with the new. The old level being the higher, water will always tend to drain away from
it to the lower, and so the part of the lawn at the foot of the bank or wall will, unless

DfWIM

FIG. 151.

123

LAWNS, GLADES AND GARDEN WALKS.

FIG. 152. — THE BOWLING GREEN, FOOTS CRAY PLACE.

FIG. 153. — THE BOWLING GREEN, FOOTS CRAY PLACE.

124

LAWNS, GLADES AND GARDEN WALKS.

measures are taken to prevent it, become and remain waterlogged. To prevent this a trench
must be dug along the foot of the bank, as shown in the accompanying section (111.
No. 151), and a pipe drain laid in the bottom. Over the pipe dry loose stones, between
which the water can easily percolate, are piled to within a foot of the surface and the
soil and turf laid on these.

Where the subsoil is formed of some material such as dry flints or gravel, which
allows all moisture to drain away so fast that the grass burns in hot weather and all
composts or fertilizers are washed away by heavy rain, an opposite case is presented.
Here the best way is to sink the lawn as suggested above for bowling greens and to
treat the soil with heavy manures and a certain proportion of clay.

Suggestions for the arrangement and design of one or more games-lawns may be
culled from almost all the plans of gardens illustrated in this work, while in illustration
No. 409 is shown a combination which is rather unusual though most convenient. It
includes a tennis lawn, a hundred and twenty feet square, a bowling alley and a cedar
avenue on rising ground with a handsome resthouse at the top of the glade. This
glade is long enough and wide enough to be used as an archery ground, and, at the
end, but centering with the bowling alley, is a croquet lawn with a loggia and raised
terrace. As before stated, the advantage of a tennis lawn of the above size is that it
allows of two courts, which can be placed either way, according to the time of day at
which they are to be used.

Turning now to the consideration of informal lawns, we find that, while they are
not susceptible to definite rules for general application, there are certain main principles
which must be observed in their formation and some pitfalls to be avoided which have
led to much failure in the past.

The most common error is to falsify the natural contours by the creation of artificial
undulations, a process which has already been condemned. Instead of this, the natural
contours of the land must be incorporated into the scheme and emphasized, and in
those districts where the whole of the surroundings of the mansion are at one dead level,
the attempt to reform the surface into flowing lines must inevitably result in such a
contrast with the remainder of the prospect outside the domain, as at once to suggest its
artificiality to the least observant beholder, in which case it had far better be confessedly
artificial and arranged as a formal garden throughout.

In practice, however, there are occasionally
cases where gradients become necessary which
are not part of the natural undulations of the
site. For instance, to obtain an easy walk, it
may be advisable to excavate below or fill
above the surrounding natural levels. In all
such cases it is well to remember that a garden
in any style is simply landscape adapted, and
that it is the gentle undulating lines of nature
which are to be followed, not the rough broken ground of the upland pasture, nor,
on the other hand, the series of miniature railway embankments so often crowded into a
garden scheme.

In those exceptional cases where interference with the natural levels of an informal
lawn is justified, what are therefore needed are soft flowing lines which shall help the
original contours instead of destroying them and which shall give a restful and refined
appearance to the gardens. This cannot be attained by the promiscuously arranged
bumpy hillocks which so many garden makers effect, but rather by the removal of those
subsidiary undulations which are inimical to long sweet stretches of green lawn. The
accompanying section (111. No. 154) through a shallow valley along which it is proposed

FIG. 154.

Informal
lawns.

Interference
with natural
levels on
informal
lawns.

125

LAWNS, GLADES AND GARDEN WALKS.

to form a vista will explain this. The numerous small hummocks with which the rising
ground on either side is studded are removed and the surface left more or less to the
contours shown by the dotted line.

Where the mansion has been designed in keeping with its surrcmndings and rightly
placed on the site, much interference with existing levels in the more naturally treated
portions of the grounds will very rarely be called for. There are, however, cases where
it is advisable to erect a screen between the gardens and outlying properties of an
unaesthetic character, or for the purpose of giving privacy from public thoroughfares.
In such instances the raising of a mound and a little judicious planting will soon secure
the best of all protections; but here again breadth of treatment is desirable, for if the
mound merely forms a ridge along the boundary its use is so apparent as to call
attention to what is on the other side instead of hiding it.

FIG. 155. — THE GLADE, LEWISTON MANOR.

(See also III. Nos. i and 157).

FIG. 156. — GLADE CUT THROUGH COPPICE WOOD,
FOOTS CRAY PLACE.

Woodland • There is one form of lawn directly suggested by those clearings and roadways which
glades. abound in English woodlands and which ever attract and please the artistic mind and

for which there is increasing opportunity. This is the woodland glade or green drive,
which is often, as in the accompanying photographs and plan (111. Nos. i, 155 and 157),
cut through coppice wood. Much of this class of land was originally planted because it
was too rough and hilly for arable purposes and not rich enough for permanent pasture.
Such land has usually great attractions for lovers of rural country who are seeking a
site for a new residence. Incidentally this is fortunate, for it leaves the broad pastures
and meadows for the fanner.

In treating such a site, it is well to remember at the outset that the wildness which
first attracted attention to its desirability will not finally satisfy, at least for those

126

LAWNS, GLADES AND GARDEN WALKS.

portions of the grounds nearest the house, and that
the designer's task will include the introduction of
order and primness consistently with the existing
wildness which is to be retained. There is also the
further consideration, that the coppice, which looks so
well when maturing for its periodical cutting, leaves
a bare scraggy patch when cut down, so that
permanent standard trees of oak or other varieties
of English timber should be encouraged to ensure a
permanent woodland ; and glades should be planned
to bear a proper relation to those trees, so that the
effect of avenues may be obtained. Where possible,
any opening made in the woodland, whether arranged
as a formal or informal glade, should be considered
first in relation to points of view from the residence
or important parts of the immediate surroundings,
and also in relation to views outside the estate
boundary.

Two practical considerations must affect the
manner of forming woodland glades. These are the
shade and drip from trees, which tend to keep the
ground sloppy and to encourage the growth of moss
instead of grass. To remedy this, land drains should
be laid on either side of the glade at a greater depth
than usual, say about four feet, in order to lessen the
risk of the tree roots entering them, and in addition to
this, the grass should be raised in the centre or, on
a hillside, sloped slightly from one side of the glade
to the other, to throw heavy rains in the direction
of the drains.

Soil in coppice woods, though excellent for the
growth of shrubs and trees, is seldom rich enough
for grass, so that if manure cannot be obtained,
a liberal supply of leaf mould gathered from the
surrounding woodland should be added as a top
dressing or forked into the top spit of soil. If the
soil is very light, give a thorough rolling and sow
with clover ; if heavy, allow it to consolidate naturally
and sow with the grass seed given below.

Other things may take the place of grass in a
glade. Ivy is often used, or the St. John's Wort
(Hypericum calycinum), which is so extensively used at
Normanhurst near Hastings, and does not look in the
slightest degree exotic as one would suppose among
English timber trees. Where a still freer treatment
is required, there can be nothing more suitable than
bracken, especially where one looks towards the sun
down the glade, when the play of light and shade
is very beautiful. The russet brown carpet in Winter
is also another attraction in favour of brake, especially
if there are holly undergrowths at either side of the

i£

•

&r uli

SCALE! OF i

i" r r \&

Substitutes
for grass
under trees.

FIG. 157.

127

LAWNS, GLADES AND GARDEN WALKS.

glade to give a good colour contrast of dark green and russet, just at the time of year
when it is most valuable. Any of these subjects will also make a good material with
which to mark the sides of the glade where box is not used. They would be kept to a
straight line at either side of the grass and allowed to sow themselves back into the
woods as far as they will. All three stand drip very well in any part of the country.
Where the glade is of a more formal character, as in illustration No. 155, a stone edging,
such as that shown, may be more suitable, or, if the extra trimming of edges involved is
not objected to, a freer effect may be obtained by arranging the stones as shown in
the sketch (111. No. 158).

In the consideration of these three features, formal and informal lawns and grass
glades, we have mentioned constructional points which specially relate to each, and
before turning to the subject of garden walks, must supplement these remarks with
a few practical considerations which apply to all.

Drainage of Briefly, the two things of paramount importance in the formation of a stretch of

lawns. greensward of any kind are adequate drainage and a good soil. With regard to the first

of these, if the ground retains too much moisture, the grass turns yellow and is also apt
to burn sooner than on well-drained ground, for the roots will be nearer the surface, and,
in bad cases, grass will refuse to grow at all and moss will appear instead. Much money
and time are often wasted on lawns which are too wet, in sowing and fertilizing with
bone dust and other manures, when all that is required is a proper system of drains. The
ordinary land drains are best for the purpose. These are earthenware pipes of three

inches or upwards in diameter and made in short
lengths without socketted joints. They are laid end
to end in the trench dug for them and a layer of
stone, brick-bats or other dry material laid over
them, before putting back the material excavated.
The water runs into the spaces between the stones
and so into the pipes between the open joints.
Occasionally one finds that, in certain soils, they
soon become choked with loose matter carried into

the pipes by the water. In this case, heather, furze or some other filtrant should be
put into the trench round the pipes; but this should not be done without first consulting
the farmer who has tilled the surrounding land, and who will know the method which
best suits the local conditions. All land drains will, of course, unless a good fall is
obtainable, silt up in the course of years and must be opened up, emptied and relaid,
and this is one reason why one finds so many old lawns which are in a poor sodden
state, bald in patches and slippery to the feet. The tendency to silt up can of course
be very much lessened where it is possible to give the pipes a good fall or slope so
that the water will run rapidly in them and scour them out.

Where the whole surface of a large lawn, say a double tennis lawn, is to be drained,
" herring-boning," as it is called, is usually the best way. This consists of laying a
main drain pipe along the longest diameter of the lawn and arranging tributary drains
on either side every ten to fifty feet according to circumstances, in the same way that
the spines radiate from the backbone of a fish. The main drain may be six inches
in diameter, with side drains of four inches, or four inches with the tributaries three
inches according to the wetness of the ground and the local rainfall. Where the outfall
drain crosses a drive for heavy traffic, stoneware pipes should be used, as these are
stronger and less liable to be crushed by heavy weights going over. Sometimes drains
are formed by cutting a trench and merely partially filling it with dry rubbish, such as
dry flints, through which the water can percolate, then filling up with earth. In other
cases a V shaped trench is cut and the bottom part, about six inches deep, is bridged

FIG. 158.

128

LAWNS, GLADES AND GARDEN WALKS.

over with roofing slates or tiles. The latter is only useful in stiff clays and neither are
as good as pipes.

After good drainage comes a good soil. It is often considered wrong to have a Soil for
good depth of loam on which to lay the turf or sow the seed, the impression being lawns.
that it encourages rank grass. I have seen even a large tennis lawn finished with less
than three inches of soil, with the result that in two years it was covered with moss.
A lawn, like a meadow, requires to be in good heart, and must have a sufficient depth of
soil. To prevent worms, however a layer of sharp clean ashes or coke breeze may be
laid under the turf, or, where the lawn is to be sown down, under the top spit of soil.

Whenever good turf can be obtained, this should be preferred to sowing seed as the Turf for
tender grass takes a long time and much mowing and rolling before it forms a really good lawns.
lawn, whereas lawns laid with turf and well looked after would be available for games
etc., in a year's time or even less. The sods, carefully selected from a good meadow,
are lifted with a turf spade in pieces about two feet six inches long and one foot broad,
care being taken to cut it thick enough to carry away all the roots and plenty of loam.
To prevent damage in handling and to keep it moist, each piece is tightly rolled up
for transit and relaid as speedily as possible, when it must be made solid by being well
beaten with a turf beater, and occasionally watered if the weather is dry, until it has
become somewhat established in its new environment.

Where turf is not available in sufficient quantities to cover the whole area of the
new lawns, it should, if possible, be used for the edges of all walks and for grass banks,
and the rest should be sown. Although the latter method takes a considerable period to
form a good lawn, it will, in time, be quite equal to one which has been turfed, and
even six weeks after it is sown, the tender grass, if sown in the spring, will be green and
fresh and pleasant to look upon.

The following prescription for grass seed is the one which I have found the most Grass seed.
generally useful, in the proportions given.

Cynosurus cristatus . . . . . . . . . . . . . . . . 6 Ibs.

Festuca duriuscula . . . . . . . . . . . . . . . . . . 4^1bs.

Festuca ovina tenuifolia . . . . . . . . . . . . . . 3 Ibs.

Festuca rubra . . . . . . . . . . . . . . . . . . 2 Ibs.

Poa nemoralis . . . . . . . . . . . . . . . . . . 3 Ibs.

Poa nemoralis sempervirens . . .. .. .. .. .. .. .. zfjlbs.

Poa trivialis . . . . . . . . . . . . . . . . . . • • 3 Ibs.

Trifolium fepens . . . . . . . . . . . . ..'... 7 Ibs.

Trifolium minus . . . . . . . . . . . . . . . . 3 Ibs.

Dwarf perennial rye grass . . . . . . . . . . . . . . . . 20 Ibs.

56 Ibs.

April is perhaps the best month for sowing, though in the Southern Counties it
may be done as late as September. The best way of proceeding is to prepare the
ground early in Spring, removing all old roots, etc., and forming the surface. This will
not only allow time for settlement before sowing, but those troublesome hillocks and hollows
which appear after frost can also be dealt with. Every piece of newly turned ground
is full of weeds in a few weeks in Spring time, and the work should be done early
enough to allow of two crops of weeds being destroyed before sowing and, of course,
before they seed. This will give the grass seed a far better chance.

Before sowing, roll the ground, then lightly scratch the surface with a rake, and
after , sowing roll firm and protect with a net or threads of black cotton, and again eradi-
cate all weeds as soon as they appear. When the seedlings are some two inches high,
roll again, and by no means allow the first cutting to be done with a machine, but with
a sharp scythe. Not only does the machine exert an upward pull and so tear and

Sowing
lawns.

129

LAWNS, GLADES AND GARDEN WALKS.

Walks.

Breadths oj
walks.

disturb the roots of the infant grasses, but it is difficult to adjust it so as not to cut
too closely. Even with a scythe care must be taken, for the writer has many times • seen
a newly formed lawn studded all over with crescent-shaped patches of yellow grass where
it has been cut too near the roots.

The comfort and success of a garden depend greatly upon the arrangement and
quality of its walks. Flowers are delightful, trees and shrubs are interesting, but if, in
order to reach them, it is necessary to traverse a walk unnecessarily circuitous or one
badly constructed or with steep and uneven gradients, the pleasure in the flowers and
trees is largely discounted. Walks, too, may do much to make or mar the compo-
sition of the various garden scenes, and may either be so placed as to help the perspective
and scale, or may cut across the view with a hard line out of harmony with everything.

In certain gardens which the Author has been called upon to re-model, the walks
have presented one of two ideas. Apparently they were either survivals of an old-
fashioned maze, or were made with the intention of tiring people in the shortest possible
space of time, ideas quite foreign to the true intent and purpose of a garden, the pre-
vailing spirit of which should express restfulness and ease.

The main principles which should guide in the formation of the walks of a garden
are illustrated in all the plans in this work. The first of these is that a garden should
not consist of a multiplicity of walks, but that each path should, by its planning and
design, clearly express the purpose it is to serve. A certain number of walks and a
proportionate amount of gravelled space are necessary to the design, but generally,
lawns, flowers, trees and shrubs make the garden, and walks contribute to its enjoyment
by affording dry paths on which to stroll at all times and to reach the various parts
of the grounds without inconvenience.

Walks and paths being an absolute necessity for the proper working of the garden,
and for recreative purposes, they should offer every inducement to frequent use by
having well conceived and harmonious lines, easy gradients and perfect metalling or
paving, supplemented by seats and shelters conveniently placed. They look best when
their purpose of convenience or ornament is clearly expressed in their design, and should
be arranged in such a way that the beauties of the place are exhibited, not by a series
of wriggles, each of which is supposed to bring the spectator into direct line with
some startling device or example of misdirected labour, but in a simple, straight-
forward manner to show the extent of the gardens, and picturesque views of the house
and domain, the wealth of flowers, and any other feature of special interest. In the freer
or landscape portion of the garden, the practice of indiscriminately cutting up lawns merely
for the sake of making paths cannot be too strongly condemned, but in the formal
portion nearer to the residence, division of the gardens by walks is often the most
expressive way of securing character in the design.

Walks which form part of the terrace scheme have already been mentioned in dealing
with terraces and terrace gardens, and many of the remarks then made apply equally
well to all those in the formal garden. Generally speaking the walks in the more
formal portions of the grounds should err rather on the side of being slightly too broad
than too narrow. If not given sufficient breadth they will generally look very mean
and poor. The most suitable widths vary from six to twelve or fourteen feet broad,
the latter being for the main terrace promenade walks. In most gardens, the best
uniform width for the whole system of walks, apart from the main terrace scheme, will
be seven or eight feet. In the panel garden on the other hand, it is better to err on
the side of narrowness, unless the beds are very large, and usually from two to three
feet wide, according to the requirements of the design, will be plenty if the walk
surrounding the whole is of sufficient width.

Paving has also been incidentally mentioned in connection with the terrace scheme and

130

LAWNS, GLADES AND GARDEN WALKS.

is equally adapted to the .formal garden, as will be seen on reference to illustrations Paved
Nos. 159 to 163, which show combinations of brick, stone and cobbles. In their formation, walks.
special attention should be given to the foundations, which should be prepared by first
removing all the soil and laying down a foundation of broken brick, stone, or other
hard material, to a depth of about six inches, on which a stone pattern may be laid

Jiljij

TTT

Jlilll

mr
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Illl

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III

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II 1

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FIG. 159.

and bedded in sand, or cobble paving may be laid in sand and afterwards grouted in
cement, which is done by running liquid cement in between the stones with the aid of a
hard broom and so consolidating the whole. If a layer or screed of cement is spread over
the foundation material and the paving bedded into this, a very strong substantial footway
will result which will not grow weeds nearly so readily as other kinds.

FIG. 160.

When the residence and other architectural erections are in brick, an excellent
and inexpensive path is formed by paving with the same material, as shown in the
accompanying plan of the paved garden at The Grange, Wraysbury, already referred to
(111. No. 163). Visitors to Holland are impressed by the neatness and quaintness of the side
walks paved with small klompje bricks, while in the case just referred to, ordinary sand

FIG. 161.

bricks were used, but, whatever bricks are employed, it is necessary to use weed killers
with caution in their vicinity for the copper sulphate which is the basis of most of
them causes the bricks to scale. It is claimed that gas lime is a safer substitute and
quite as effective as a weed killer.

FIG. 162.

Stone paths neatly laid with flags of good quality are very pleasing in appearance.
Where material of two or three colours is available, from which to form it, a design
in simple squares and lines, as shown in illustration No. 162, may be very effective, and
there is endless scope for originality in their treatment. The writer has found, after a

LAWNS, GLADES AND GARDEN WALKS.

test extending over several years, that yellow York flags, procured from Idle or Morley,
prove the most serviceable in wear, and, in colour, harmonize well with the green which
preponderates in a garden.

Once or twice I have been asked to form a path across a lawn which shall appear
as little noticeable as possible. In such cases I have recommended a narrow line of
pea-green flags cut from Westmorland slates which, both in colour and the nature of
the surface obtained by splitting them at the quarry, are admirable for the purpose.

Although there are a few exceptional cases, such as the rock garden, where crazy
paving may be used effectively, there can be no doubt that in most instances, this form of
garden pavement results in one of the worst forms of affectation, like rustic garden
houses, seats and bridges. Except therefore where special circumstances make the use
of such paving advisable, it is to be avoided.

Cement or asphalt walks are also, as a rule, undesirable. There are, however,
one or two kinds of concrete less objectionable than the ordinary forms, which make

FIG. 163. — PAVING AT THE GRANGE, WRAYSBURY. (See also III. No. I2Q.)

pleasant paths. The best is the concrete coloured by oxides, largely used in Scotland
for steps and the paving of yards, while another, deserving favourable mention, resembles
broken mosaic floors and is a combination of concrete and broken gravel.

Gravelled As will be seen from the accompanying section (111. No. 164) gravelled paths

paths. are formed much in the same way as drives, the formation of which is dealt with in

Chapter VI., the usual difference being that the former are not made with sufficient care.
This is a great mistake, as very little extra expense in formation will make the walk
more serviceable ever afterwards. On the section the ground has been excavated a little
deeper at the sides to take a land drain, above which conies first the pitching, then material
broken to about the size of a hen's egg, and on the top of this a layer of pinnell or
gravel to form the surface, the best from the point of view of colour being the gravel
obtained from Farnham, Carnforth or the Wrekin. The red granite gravel so much
used in the Highlands of Scotland also makes fine walks, and very beautiful gravel may
sometimes be obtained from the neighbourhood of lead and copper mines. Where

132

LAWNS, GLADES AND GARDEN WALKS.

none of these materials are available, the walks may be laid with hard pinnell or
samel and receive a coat of fine pit or river gravel, which should be rolled in.

It is sometimes found desirable in garden schemes, both formal and informal, to
make walks which cannot be connected at their termini with other walks or doorways,
and some feature, such as an arbour or seat, must, therefore, be supplied to atone in
some measure for what appears to be faulty planning. Such opportunities allow the
designer almost unlimited scope for originality of treatment, which, if successful, often
appears to be particularly appropriate.

This suggestion should not be read as commending the formation of culs-de-sac,
for to be compelled to return by the same route is undesirable, so that walks of this
description should only be made when there are strong
reasons for so doing, as when leading to a particularly
pleasing view, a rocky eminence for instance, ascended
by solid hewn steps, or a rounded knoll surmounted by
a patriarchal tree, or so forth. Where a walk turns
abruptly at right angles for any reason, similar conditions
prevail and call for the same kind of treatment as that employed where it. stops short.

Another difficulty occurs where a wild garden or wilderness adjoins and is connected
with a formal scheme, the treatment at the point of connection between the two usually
being anything but happy. To conceal the point of transition is usually hopeless, and
it is far better to mark it definitely either with a fence and simple gate or a pergola,
summer-house or arbour, placed across the path as in illustration No. 322, or a little
gatehouse such as that shown in No. 71, would, in some instances, be most effective,
apart from its present use.

FIG. 164

Culs-de-sac.

Connection
of formal
and inform-
al portion
of grounds.

FIG. 165.

FIG. 166.

In the informal garden it cannot be said that walks are at all necessary as ornament,
for continuous stretches of greensward generally look better, but, as dry walks are neces-
ary, the art of the practitioner should be directed to making them as pleasing as possible.
One of the first essentials is to make them express by their route and curves the contours
of the land, as already suggested for informal carriage drives, and they should always
have some definite and adequate objective, such as an important point in the garden,
a short cut to church or village, or happy connection with other walks, or the terrace
scheme. Where they are raised above or sunk below the natural level, or cut out of
the side of a hill, they should also be treated as recom-
mended for drives in such positions with a flat verge about
three feet broad on either side and then banks arranged
in flowing lines to meet the natural contours, as shown in
the accompanying sections (111. Nos. 165 and 166).

Repton, who must have had a keen appreciation for
beauty of line, laid down certain rules for walks passing
through a garden designed in the landscape style. The
first and most important was that, when two walks
diverged, they should not appear as though intended to
join again, as in illustration No. 167, but rather as though they led to points far apart,
as in illustration No. 168. Another rule was that curves should not be too small or
unnecessarily repeated. They should instead be blended into long sweeping lines. A
third rule, not specially referred to in his writings but followed in his practice, is that

FIG. 168.

Repton on

garden

walks.

133

Verges.

LAWNS, GLADES AND GARDEN WALKS.

where anything approaching a network of walks is necessary, they should not all be seen
at once. These three rules, if properly observed, would do much to remove many of
the objections raised against the informal method of laying out grounds.

It is sometimes necessary to connect walks which are part of the pleasure grounds
or walks leading from the conservatory, garden entrance, or other particular portion
of the house, with the
carriage drive. The best
way in such cases is,
wherever possible, to
effect a junction with
the carriage sweep, but
if it becomes necessary
to connect such paths
with the drive, the same
conditions should be
observed as before de-
scribed in making a
back drive, or the junc-
tion should be at right
angles, which would be
still better.

For verges to
garden walks other than
terrace paths, grass
would, by general con-
sent, be allowed to be
the most suitable, but
grass so charming when
in good keeping, is all
the more disappointing
when untidy or sparse.
This is most noticeable
in the many instances
where a narrow grass
verge borders a drive
overhung by trees, when
no amount of care will
prevent it from being
ruined by the drip from
the branches, and where
it would be far better

FIG. 169. — WOODLAND WALKS AT MOUNT STEWART.

to give up the attempt to grow grass and replace with some shade-loving plant which will
succeed under trees, such as ivy trimmed level and to a line, cotoneaster macrophylla
similarly treated, gaultherias, hypericum calycinum, or dwarf sweet briar hedges or box,
say, one and a half feet broad and two feet high. Failing these, a border of rough stones,
as in illustration No. 169, cobble paving or narrow free-stone flag or other local paving
material might be laid. The edgings to be avoided are those consisting of blue bricks,
white spar, fancy blue or coloured edging tiles, shiny terra-cotta, glazed bricks, cement
or granolithic, and also any material laid in a series of scallops or jagged points.

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CHAPTER X.

The four features which it is proposed to consider in this Chapter, Verandahs,
Summer-houses, Pergolas, and Bridges, which, as architectural adornments fulfilling a
practical as well as an aesthetic function, are closely related both in planning and effect,
may be considered as details in garden equipment.

In the past, unfortunately, this very fact has been made sufficient excuse for treating
them as extra embellishments apart from the general scheme, and arbours and pergolas
have been dotted about without reference to their surroundings in a manner which has,
in many instances, brought the architectural efforts of the garden designer into disrepute.
They are details certainly, but in garden architecture, as in every art or science, it
is the details which make or mar the final result, and no feature of garden equipment
can be considered as a thing apart, but all must be made to harmonize, each item fit-
ting naturally and inevitably into its proper place and in keeping with its surroundings.

If they are ungainly or disproportionate, their ornamentation coarse, their construc-
tion meretricious or their placing crude, persons of education and taste will be unfavour-
ably disposed towards the whole scheme of design. If such things as ricketty wood
or spidery cast-iron verandahs, or would-be rustic summer-houses, with shiny varnish and
cheap stained glass, are placed in front of otherwise dignified residences, breaking up the
alignment and destroying all breadth of treatment; or rustic bridges, heavy in design
and insecure looking, are made to span a somewhat imaginary stream, the whole effect
must be trivial.

The steadily increasing love of fresh air and an out-of-door life which has been so
pronounced in recent years in this country, makes a deeply recessed verandah or colonnade
on the South front of the house almost a necessity. Most domestic architects, when
designing a house to-day, would incorporate this feature into their plans and make it an
integral and harmonious part of their design, and in country houses, and especially those
which are to be used as summer residences only, there is even a tendency to transform
the verandah into a large square open-air dining room, occupying the whole of the ground
floor area of a gable, the upper rooms being entirely supported on pillars on three sides.
Such an arrangement would need very careful backing up by the garden architect if
it is to be a success, not only on account of the exceptional architectural treatment
involved, but also to give it shelter and privacy.

In the ordinary verandah placed in front of and approached from the entertaining
rooms, the main practical question to be faced is that of providing sufficient light to the

Verandahs.

137

SUMMER-HOUSES PERGOLAS AND BRIDGES.

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SUMMER-HOUSES, PERGOLAS AND BRIDGES.

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139

Verandahs
to neo-
classic
houses.

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

windows at its back. This is especially so in those cases where an old house has been
acquired and beautiful grounds laid out, and it is desired to erect a verandah of adequate
width from which to view the gardens from under cover in all weathers, and which will
not obstruct the light. An attempt to do this which has proved eminently successful is
shown in illustrations Nos. 171 and 172, where an existing terrace seventeen feet in width
has been covered in with a glass roof which, while it passes adequate light, does not show
from the garden below, and which is not too insistant or obtrusive from the verandah
itself. The principle which has dominated the design in this case might be adapted to
harmonize with any small country or suburban house where such a feature is to be
added, so avoiding the usually distressing result in such cases.

Where the house is built in the classic
style with a pillared fagade, the verandah is
placed behind it, the hall being recessed for
the purpose, and the entrances from the
entertaining rooms being arranged as shown on
the sketch (111. No. 173). This arrangement
is, of course, only available when light can
be admitted into the hall at its opposite end, and can only be contrived when the whole
house is being planned. In such cases it is not possible to add a verandah after the
house is built, but loggias may be substituted.
These features are generally placed at either
end of a garden court or architecturally
treated terrace, as shown in the sketch (111.
No. 174), and if properly contrived and
designed in harmony with the classic details
of the residence, may add greatly to its effect
by broadening the fagade and strengthening
its base. Such structures will usually be
placed as terminal features on a terrace,
clear of the main front of the house, for they cannot be placed in front of houses of
classic design without destroying the element of breadth so necessary to a dignified

FIG. 173.

VESTIBULE

VESTIBULE.

FIG. 174.

FIG. 175.

composition. The homelier mansions however, built in local traditional styles and without
marked symmetry of their parts, are often helped by one or a pair of garden houses

140

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

in front. If the terrace to a classic building extends far enough on either side of the
main structure, the composition may be further helped by a colonnaded effect.

Two designs for garden houses terminating extended terraces are shown in illustrations Garden
Nos. 415 and 175. The first of these shows a terrace design in connection with Foots houses.
Cray Place, in Kent, and illustrates many points bearing on the arrangement of the
surroundings of early renaissance buildings, while the second, which formed part of the
design for laying out the grounds to Dalham Hall, near Newmarket, the seat of the
late Right Hon. Cecil Rhodes, indicates methods more in keeping with the spirit of a
simple Georgian residence.

An example of, a summer-house designed to give point and architectural emphasis to
the ends of a terraced lawn is shown in illustration No. 176 and was erected in

FIG. 176. —SUMMER-HOUSE AT END OF
TERRACE.

FIG. 177. — SUMMER-HOUSE IN SAME STYLE AS THE
MANSION.

Westmorland, the local slate-stone being the material used. In illustration No. 177 again
we have a form of garden house primarily intended to bring into the scheme for the
grounds some of the dominant architectural qualities of the mansion to which the terraces
form the foreground. They serve also to break up a somewhat flat expanse of garden and
provide the antidote to a preponderance of horizontal lines, and at the same time supply
convenient rest-houses or shelters. Here, as in the previous examples, the garden-houses
are placed equidistant from, and on either side of, the main axial line running through
the house and grounds.

In all the cases considered so far, there has been a very marked symmetrical arrange-
ment in the design of the house, and so this quality has necessarily been expressed in
the gardens. The architectural treatment and even colour and texture of the summer-
houses and loggias have also been made to correspond with that of the mansion.
Symmetry of parts is however not always either possible or desirable, and, in fact,
even where the design is symmetrical as a whole, it will very often be found that practical
considerations interfere with its attainment in some of the details of the scheme. This
will be more particularly so where one end of a terrace is finished by a summer-house
and the other must necessarily be left open for access to other parts of the grounds
or because any erection would interfere with the view from important windows of the
house or otherwise. In such cases balance must be obtained by other means. Some-

141

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

times it can be achieved by elaborating the flight of steps at the open end, or the
terrace may be continued at right angles along another facade and the balancing feature
be placed at its far end, or a gatehouse or lych gate may be placed opposite the loggia.
Where none of these expedients are possible, balance may often be obtained by the
treatment of the terrace scheme itself, or the design of its walls, or it may be extended
further towards the summer-house than on the other side of the main axial line.

Quite apart from the terrace scheme,
however, there are many positions in
which garden houses may be used.
They may mark the end of a favourite
walk, or the point from which a specially
fine view is to be obtained and which
it is desired to enjoy under all atmo-
spheric conditions, or as a classic temple
(111. No. 178) they may close a formal
vista. Such erections must be designed
in strict relation to their surroundings,
and the amount of elaboration or
rusticity of treatment which is neces-
sary will usually be determined by their
nearness to or remoteness from the
mansion. Nevertheless, however rural
their surroundings, nothing can justify
that spurious rusticity which marked
the designs of the Early -Victorian era, '
and which still predominates in the
catalogues of wholesale manufacturers
of cheap garden furniture. Rusticity
in such features is quite allowable and
even desirable among suitable surround-
ings, but it must permit of the structure
in which it is used being designed on
architectural lines and without offend-
ing the canons of art. For instance,
in illustration No. 176 a rusticity has
been given to the summer-house and a
pleasant local character obtained by
using the rough native stone quarried
on the site ; but this rusticity is con-
sonant with and is expressed in architectural terms. In the case of the erections shown
in illustrations Nos. 179 and 180, on the other hand, the buildings were so near the
house as to necessitate strict adherence to the architectural style of the main building.
Examples of garden-houses connected with outlying portions of the garden are
shown in illustrations Nos. 181 and 182. The latter is a garden house erected on an
elevated site in the gardens at Cringlemire, Windermere, for the late Henry Martin, Esq.,
and is furnished with a fireplace, thus making it available for use at all seasons. As will
be seen from the illustration, a wide verandah on the East, West and South sides gives
points of vantage from which to view the magnificent panorama of lake and mountain
which is obtainable.

Two examples of garden houses erected primarily to mark a notable view-point,
are given. The first (111. No. 184) shows a terraced bastion overlooking a broad

FIG. 178. — TEMPLE OF THE SUN, KEW GARDENS.

142

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

stretch of Dorsetshire downs and beautifully wooded heights, on which two shelters are
erected. The whole is approached by a long straight woodland glade which has been cut
through a large plantation of well-matured oak trees. The shelters are placed on either
side of a central flight of steps, there being three distinct landscape views. The first
and most important is the one seen along the main axial line, the others from each of
the shelters. Such an arrangement of the two shelters has the additional advantage that
one is always in sunlight while the other is in shade.

In the second case, illustrated in the end papers to this book, a very different set of
circumstances has to be dealt with, as the prospect is viewed across the gardens and
home park and stretches from North-east to South-west. Here the design of the structure
was suggested by the elevated nature of the site, together with the fact that it would
always be visible from the main entrance door to the house, with which it is placed
symmetrically, and the local building material which is a coarse-grained granite quarried
on the adjoining Dartmoor.

FIG. 179.

SUMMER-HOUSES IN SAME STYLE AS MANSION.

FIG. l8o.

The garden house at Foots Cray Place (111. No. 152) with its semicircular pergola in
front, is another example of view-point treatment ; but in this case it was necessary to
carry up the garden house to a second storey to obtain full advantage from the
prospect.

A primitive summer-house or arbour is often required for a position in the wild Primitive
garden, along a woodland walk or in specially interesting spots to which short excursions summer-
are made, and being away from the dominating architectural features of the residence, houses.
may be constructed of any material ready to hand. In a stone district, rough, rubble-
built dry walls might be used and the roof covered with thatch of straw, gorse, or
bracken, or it may be shingled or slated. Where the cost of stone or brick is prohibitive,
wood might be substituted throughout, and the roof alone slated, provided always that
the woodwork is sufficiently strong. Such erections, if built in the simplest and most
direct manner and no attempt is made to improve them by applied ornament of any
kind, whether of twisted oak or virgin bark, will generally provide a summer-house rustic

Interior
fittings of
garden
houses.

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

in character, possessing all the charm which such a retreat is capable of lending to a

woodland scene, and the rusticity would
be real and not of the sham description
previously referred to.

Having considered the planning and
outward presentment of garden houses
suitable to many very varied conditions
and requirements, there remains the ques-
tion of their interior fittings. These will,
of course, depend on circumstances. For
instance, in the case of the one over-
looking the extended view of Dartmoor
in Devonshire, referred to above, it was
intended that it should accommodate a
small library of garden and nature books,
and this suggested a room of fairly
ample size with an open fireplace and
electric light. Sometimes, too, a large
summer-house makes a splendid play-
room for the smaller children of the
house, especially for noisy games which
might cause inconvenience in the mansion,
and in any case it will provide a con-
veniently accessible retreat in case of
sudden showers when the children are
playing out of doors. As they grow

FIG. l8l. — SUMMER-HOUSE

older, it may be fitted with quaint
furniture and simple utensils for the first

lessons in housewifery which will be all the better learnt under such pleasant conditions.

Enclosed formal gar-
dens will hardly ever

appear complete without

a garden house arranged

somewhat as suggested

in illustration No. 183,

while those garden houses

which are reached from

the tennis and other games

lawns will fulfil the dual

purpose of a shady retreat

from which to watch the

progress of a game, and

also a tea room, for which

latter purpose, access from

the rear communicating

with the kitchen of the

house may be necessary.

Cunningly contrived and

quaint cupboards in and

around a chimney nook, ^ lg2 _SUMMER.HOUSE AT CRIKGLEMIRE, WINDERMERE, OVERLOOKING

and large chests under LAKE AND MOUNTAINS.

144

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

the window seats, should also be supplied for storing tennis nets, bowls and croquet
mallets.

Whenever a stream passes through a garden or park, a bridge of some sort is sure Bridges.
to be required. Its
character and design
will be decided, not
only by the size of
the stream which it
crosses, but also by
the relative import-
ance of the road or
path it carries, the
size and extent of the
domain, and its posi-
tion in relation to the
mansion.

Many materials
may be adopted, but
whatever the sur-
roundings or circum-
stances, it will gener-
ally be found to be

FIG. 183. — SUMMER-HOUSE WITH LOGGIA.

much the wisest and

most economical in the

end to build in stone or brick, or where wood must be employed, in wrought oak

strongly and well pinned together. Iron is seldom treated satisfactorily or made to

FIG. 184. — END OF GLADE, LEWISTON MANOR. (See also III. Nos. 155 and 157).

SUMMER-HOUSES, PERGOLAS AND BRIDCxES.

FIG. 185. — THE BRIDGE, CHATSWORTH, FROM THE USUAL VIEW-POINT.

FIG. l86. OLD RAGSTONE BRIDGE AT LYNMOUTH, SHOWING INFLUENCE OF LOCAL MATERIALS

ON DESIGN.

146

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

FIG. 187. — BRIDGE IN DEVONSHIRE BUILT OF LOCAL GRANITE.

Stone
bridges.

harmonize with garden scenery, and for this reason does not appeal to garden lovers. Iron
There are, however, many positions where it may be used with perfect propriety and bridges
without injury to the most beautiful natural scenes, if designed in keeping with their
spirit as regards the main proportions of the structure, and it is kept perfectly plain and
free from cast-iron filigree ornament. Even better results may be obtained by combining
iron with stone, as when stone bastions or pilasters, crowned by sculptured figures,
support a perfectly plain girder bridge, as in so many parks on the Continent. The one
great advantage of iron
is that it is possible by
its aid to cross a wide
stream or gorge at com-
paratively little cost, and,
generally speaking, it is
only under such con-
ditions that its use can
be encouraged in the
garden, for it is un-
questionable that stone
or brick are materials
which lend themselves
far more sympathetic-
ally to the interpretation
of its spirit.

A stone bridge need
not be elaborate ; in-
deed there are few
places grand enough to
stand a palladian bridge
such as that at Wilton,
nor will there often be
opportunity for one on
such a large scale as
that which spans the
river Derwent at Chats-
worth ; and even in this
latter classic example,
although, from the usual
view point, given in
illustration No. 185, the
bridge and house form
a logical and harmonious
composition, in reality,
aesthetic connection is

a little lacking and the spectator feels that, either the more formal portion of the
grounds should have been brought into relation with the bridge or its treatment should
have been somewhat simpler.

Whenever the bridge is visible from the mansion or forms a part of the pleasure
grounds or park, its design and proportions as well as its details will need the most
careful balancing against its surroundings. Especially will this be so where, as at
Ballimore, in Argyleshire, illustration No. 402, it forms a part of a formal terrace
scheme as well as a vantage point from which to view the naturally treated stream

Wooden
bridges.

Super-
structures to
bridges.

^SSSg

C*2Fj

- *-fv ^

safe^T

FIG. l88. — BRIDGE AT MOUNT STEWART.

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

shown in illustration No. 261, with its unstudied sylvan treatment and falling torrent,

for here it must harmonize with the terrace in its architectural details and scale, and

yet, on the other hand, there must be nothing
to clash with the natural scenery beyond, nor
must it form a hard dividing line between the
two.

As in the case of terrace walls and every
other form of garden architecture, the style of
the house will more or less dictate the material
and style of the bridge if the two are near
together, while in other cases, local conditions
will have their influence. Thus, in illustration
No. 187, is shown a bridge erected in a
West Country garden in which the local granite
was used, and in illustration No. 186 an old
bridge of rag-stone, each being stamped with
the local character ; while, on the other hand,
the design of one for the Marquis of Bute,
shown in illustration No. 188, was influenced
by other architectural details which were part
of the same scheme.

Very often a perfectly simple bridge built
of rubble walling with a neat flag coping will

answer all purposes, and in any case it is far better to err on the side of plainness than

to obtain an ostentatious result. Smaller bridges still should be constructed of oak, but

never of the so-called rustic work, which,

besides offending the canons of art in its

design, invariably looks either brand-new

or dilapidated. Where a wooden bridge is

necessary, it should be a straight-forward

honest piece of good carpentry, with as

much quaint construction and strutting

as this will allow of. Such a bridge

will outlast a number of the so-called

rustic affairs which are so often used

because they are cheap. A representa-
tive design for this class of work is given

in illustration No. 189, which shows a

bridge designed by the Author for the

late Colonel Sandys, M.P. ; and a still

more rustic wooden erection, suitable for

the wild garden, is shown in illustration

No. 261.

The effectiveness of bridges in gardens

may often be enhanced by means of

some form of superstructure, such as

the summer-house shown in illustration

No. 236 which represents the outlet to

a formal canal at Kearsney Court, near

Dover, or, in other instances, a pergola may not only stretch the whole length of the

bridge, but extend along the path on either side, the part over the bridge being marked

FIG. 189. — WOODEN BRIDGE AT GRAYTHWAITE HALL.

148

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

by extra height and square, arbour-like broadenings at either end. Where it is necessary
to have a gate at one end of the bridge, this affords the opportunity for many
delightful compositions, and if the bridge is of stone or brick, balustraded panels to match
the design for the gate may be inserted in the parapet walls over the centre of the
arch. In other cases, where the stream or ornamental canal or lake is large enough
for a boat, delightful combinations of bridge, boathouse, and tiny wharves or landing
stages may be arranged, and where a drop in the water level can be obtained at the
bridge a formal cascade may be incorporated.

It occasionally happens that a bridge is wanted to connect two portions of a garden Bridges
intersected by a public lane or service road, but, speaking generally, this means of com- ov^r public
munication should not be adopted unless the obstruction to be crossed is in a cutting
or otherwise at a much lower level than the gardens on either side, or at least on the

SKETCH LESION > PERGOLA
«, ROSE TEMPffi

FIG. 190.

side nearest the residence. This sinking of the path to be crossed prevents the bridge
from being placed so high up as to have an unrestful appearance from the gardens,
which it must have if it is ascended by a large number of steps, and where the ground
on the far side is lower than on the near, a terraced effect can be obtained. It is, how-
ever, a mistake to use a bridge in such positions unless the conditions are favourable.

Pergolas, unlike bridges, are required in almost every garden. Though, as their Pergolas.
name implies, they are an imported feature, they differ little from the ancient bower
walks either in construction or spirit. The latter was usually made of hoops of iron
placed some six feet apart, forming a series of arches clad with roses or climbers,
while the former has a strong continuous frame-work, often with the sides filled in with
laced trellis, or wattles, according to the pleasure or purpose of the maker.

... In a new garden, where shade is very difficult to obtain, a pergola is invaluable
as it can be covered in a very short time with foliage, such as that of the clematis
montana, honeysuckle, foliage vines or other climbers, and so prove very useful until the
newly planted trees have had time to grow large enough to afford some shelter. Where
it is not desirable to obstruct the view, a roof of greenery supported on pillars would
be sufficient, but where it is desired to obtain privacy, one or both sides would be filled
in by trellis. In those cases where the pergola skirts one end or side of a tennis
lawn, and is to be used as a shady place from which to watch the game or in which

149

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

to take tea, the side remote from the lawn would be filled in for shelter from the wind
and the other side left open, with or without a handrail. A pergola can be used with a
particularly happy effect where it can be built over a path dividing two distinct portions
of the grounds which it is desired to screen from each other. In this case it performs
all the functions of both pergola and fence.

There is almost unlimited scope for originality in the planning and designs of per-
golas, for not only may they be of almost any size and many shapes to suit varying
circumstances, but also may be made in many materials and gradations of elaboration
in the design. From the graceful and elaborate French treillage for the interior of the

conservatory, to the
simple erection of un-
peeled larch poles for
pergolas in outlying por-
tions of the grounds,
is a very far cry, and
there is every possible
gradation between these
extremes.

Illustration No. 388
shows a somewhat
elaborate example with
stone pillars and balus-
trade of renaissance
design, and a super-
structure of oak, the
roof being arranged in
domed form, at the
angles where the pergola
broadens out into
arbours. By its means
shelter is obtained on
a terrace garden, which
on the side on which
the pergola is erected,
is raised above the
natural level of the
ground some fifteen feet,

and being overlooked from part of Hampstead Heath, would be exposed both to winds
and observation without some such screen. Such an arrangement will often be useful
on the principal terrace, next to the house, where it is not advisable to make a
verandah.

Where a pergola is taken completely round the four sides of a formal garden, with
some architectural feature such as a fountain or statue to mark the centre, a delightfully
cloistered effect is obtained with the maximum of seclusion. This arrangement is
particularly useful where the garden is situated among unlovely surroundings as, for
instance, in a manufacturing district.

For other less prominently placed positions, the pillars may be built of brick or
stone, as shown in illustrations Nos. 190 and 191 ; or the rough monolithic columns
used in Italy for the grape vine pergolas may be employed, and where a lighter
structure still is suitable, the whole erection, including the posts, may be in wood, as
in illustration No. 192. The extent to which local materials may be utilized is shown

FIG. igi. — -PERGOLA PILLARS OF ROUGH MASONRY.

150

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

FIG. ig2. — PERGOLA ENTIRELY OF WOOD.

FIG. 193. — COVERED WAY BETWEEN HOUSE AND PARK AT GREENWOODS, STOCK.

SUMMER-HOUSES, PERGOLAS AND BRIDGES.

in illustration No. 384, where the pillars are built up of small pieces of black West-
morland slate. Although ordinary rustic work of the shapeless description is quite out
of place, good pergolas for the outlying portions of the grounds or a cottage path may
be made of unpeeled larch poles, as these allow of sound construction and definitely
balanced proportions. In other cases the material may be peeled but left in its natural
round state, peeled poles having the advantage of not harbouring insects in the way
those with the bark on generally do.

Rustic In erecting a rustic pergola, the most generally useful size is about eight feet wide

Pergolas. and the same height, placing the strong upright posts about six feet apart. Bearers
parallel to the path are nailed from the top of one post to that of the next, and cross
bearers to span the walk are laid on them, projecting at each end for about eighteen
inches beyond the line of posts. Climbers are then planted against the posts, and the
intervening spaces left open until the plants have grown to a sufficient size to be trained

over the trellis which is subsequently placed between the posts.
If this trellis is inserted when the pergola is first made, it will
tend to create the impression of a forest of naked timber.

The great danger to guard against in the formation of
such a pergola is a flimsy appearance, and one way of avoiding
this, is to place the posts in pairs about a foot apart. Illus-
tration No. 194 shows this arrangement and will provide
suggestions for adaptation to many varying circumstances.

Pergolas need not always be of the usual more or less
long and narrow form over a path. For instance, we may have
a perfectly square one on a terrace near the house, for use for
meals in hot weather, or a semi-circular one may cover a
curved seat placed centrally at ^ the end of a tennis lawn or at
the end of a broad walk, or it may form a small arc of a
large circle like that shown in the heading of this chapter.

Covered Very much the purpose of a pergola is served by the covered way shown in

ways. illustration No. 193, which was erected by the Author to connect the house and home

park in grounds laid out for Adam Ellis, Esq., at Stock, Essex. In positions where a
dry path at all seasons is required to connect the house with a garden house or smoke
room, or to provide a covered way from the highway to the front entrance of a
suburban residence, such an arrangement would be far better than a pergola with an
open roof. In other situations, instead of the series of brick arches, quaintly strutted
oak posts could support a pantile roof, or in a stone district, stone piers and lintels
with a green slate roof may be used, or even rough-casted arches where this material
covers the walls of the house.

FIG. 194.

152

(X,

W
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o

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K
H

Misuse of

garden

ornaments.

CHAPTER XI.

In the last chapter, we dealt with the four principal architectural accessories of the
garden, and in this we must continue the same subject by considering, as fully as space
will allow, all those smaller and more portable features which form fitting subjects for
applied art.

Generally speaking, garden furniture of every description suffers in repute from the
very indiscriminate manner in which it has been used. In many, one might almost say,
in a majority of gardens, such features as statuary, vases and seats are dotted about
with very little regard to their surroundings, and so look absurdly out of place. In
fact, to such an extent was this done in the case of statuary in the gardens laid out
during the first half of the last century, that the very term " garden statuary " calls up
to the mind of most people a vision of hideous plaster figures completely spoiling the
whole effect of natural glades or sylvan scenery, seeming almost to shiver in their slight
classical drapery as the green drip from the trees falls upon them and covers them with
dirty streaks. The prejudice thus created is so great that many garden-lovers would
seem to be unable to see that statuary has any fitting place or function in a well-ordered
pleasaunce, and yet, where else could it be so effective as in a garden, ostensibly devoted
to the leisured cultivation, expression and satisfaction of our artistic leanings ?

I agree most wholeheartedly that poor plaster casts from the antique or conventional Statuary.
figures in glaring white marble are totally unsuited to our purpose, for, quite apart from
questions of subject and treatment, their hard sharply insistent white silhouettes must
cause an over -emphasis of the point they are supposed to adorn ; but this does not mean
that statuary in other materials, such as lead or bronze, which tones and harmonizes with
the surrounding greenery, rightly placed and in keeping with its setting both as to scale
and sentiment, may not be used with the happiest results.

Severe restraint is, however, more necessary in the introduction of this feature than
of any other, simply because it represents the last and culminating point in the com-
position beyond which we have no further power of emphasis. In music, the sudden
loud crash of sound, in pictorial art, the most vivid contrasts of tone and colour, in
rhetoric, the highly figurative hyperbole, must be used but rarely and with caution,
because, in every case, they represent the last effort, the exhaustion of the full range
of the powers of expression, and so, in the employment • of statuary, which takes much
the same position in our own art, restraint and reserve are equally necessary, and the
highest point must be touched but seldom and, where approached, must show the
evidences of a master-hand.

It is evident that the subject matter of a statue will go very far to determine its
suitability or otherwise for a place in the garden, but this does not mean that we must

155

STATUARY, TREILLAGE AND GARDEN FURNITURE.

Applied
sculpture.

Acroliths.

fill our pleasaunces with representations of Ceres or our woodland glades with Dianas.
Quaint shepherds and shepherdesses, such as those shown in illustrations Nos. 196 and 197,
will strike a rural note more acceptable to modern minds, while, if a more classical
subject is desired, Cupids, dryads, satyrs and fauns allow of almost endless scope for
taste and discrimination in their posing, placing and application. Illustration No. 199
shows a little lead statue of Cupid which was modelled for me some years ago, and
which I have reproduced several times without in the least tiring of it. In fact it
has that special quality of the best work in that, instead of palling through familiarity,
it seems to grow upon one the more one sees it.

But there is another way in
which this form of garden ornament
may be used. This is in what one
may call "applied sculpture," a
good instance of which is the boy
and dolphin fountain shown in
illustration No. 237. Fountains
invite this type of decoration pro-
bably more than any other form
of garden equipment, but observa-
tion of existing examples shows the
necessity for great caution in its
choice and arrangement, and for
care that none but the best obtain-
able is used.

This strong insistence on the
assertion that no statuary but that
which is really good should be given
a place in the garden does not
mean that it must be excluded
from the domain of the man of
only moderate means. Old lead
figures of real merit may occasion-
ally be picked up for quite moderate
prices, and, where the choice has
to be made, • I would strongly advise
the acquisition of a good copy of
a well-known subject, even though
it lack the quality of uniqueness,
in preference to an original con-
ception of second-rate artistic merit.
The boy and dolphin from the Uffizi,

Mercier's David and Goliath, the well-known Greek Slave, and the half-dozen specially good
Cupids which it is possible to obtain can never pall and, though often repeated, are to
be preferred to the generally commonplace original creations of the monumental mason.
Subjects from Greek and Roman mythology will need some adaptation to their use
and surroundings if they are to be successful, but there is one feature of classical orna-
ment which seems to adapt itself perfectly without the slightest rearrangement. This is
the acrolith, which from its nature is only suitable for use in gardens laid out on formal
lines and usually in conjunction with clipped hedges, where it can be used to divide the
hedge into bays or mark the position of an opening, as in illustration No. 203. It may
also be used, however, to emphasize the termination of an avenue or glade, as in the

FIG. 196.

FIG. 197.

156

STATUARY, TREILLAGE AND GARDEN FURNITURE.

FIG. 198.

GARDEN STATUARY.

FIG. 199.

FIG. 2OO. — PALAIS ROYAL, BRUSSELS, SHOWING THE EFFECTIVE USE OF ACROLITHS.

157

STATUARY, TREILLAGE AND GARDEN FURNITURE.

tti
o

s o

D <

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O

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W

W
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O
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t— (

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cfl

c
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158

STATUARY, TREILLAGE AND fxARDEN FURNITURE.

view 1 give of the Palais Royal at Brussels (111. No. 200), while illustration No. 201
shows how a pair of these features have been placed so as to break up a plain
wall surface and give character and finish to an architectural composition. Illustration
No. 204 gives a modern adaptation of the same idea.

Detached columns of traditional classic design often, but not always, surmounted with
statuettes or graceful lead urns may be used for the same purpose, as shown in illustration
No. 202, which is an instance I came across in a garden at Seville, or one may be placed
in the centre of a formal garden to be
smothered in rampant roses or clematis.
Those readers familiar with the Pare
Monceau at Paris will also remember
what a charming effect may be obtained
with a classic colonnade in conjunction
with wild foliage and water. Some-
times, too, a single column may support
a cubical block of stone, the four faces
of which bear vertical sundials (111. No.

234)'

The sundial is a feature which

allows of very varied treatment, and
there are examples of quaintly conceived
pedestals supporting a polyhedrical
block of stone bearing literally dozens
of dials on its various facets, each one
having its own particular markings
carefully calculated in accordance with
its placing in relation to the path of
the Sun. Such arrangements, however,
and also the huge topiary sundial at
Broughton Castle, partake of the nature
of curiosities or freaks, which, however
quaint the original examples may be,
cannot be repeated indefinitely without
destroying that interest which belongs
to the unique and curious. Rather
should we try, in this as in every
other garden feature, to combine use
with beauty and grace of form, and
clothe the whole with that sentiment
which belongs naturally to the subject
of so much literary verse, and which
has come down to us with an unbroken
record of usefulness from the dark ages.

Unlike some other antiques, the
sundial will not usually bear removal

from its original surroundings without losing the whole of its old-world charm and becoming
more or less commonplace, and it is usually therefore much better to design one to fit its
surroundings than to purchase one of the old examples. Again, as every position requires
a specially designed dial, and every degree of latitude a differently shaped gnomon,
once a sundial is removed, it cannot be relied upon to register correct time.

In passing it may be explained that the time told by the sundial is Solar time, which

Detached
columns.

Sundials .

FIG. 2O3. — ACROLITHS AT EITHER SIDE OF
OPENING IN A NEWLY-FORMED HEDGE.

STATUARY, TREILLAGE AND GARDEN FURNITURE.

varies slightly according to the seasons, and not the mean time to which we are accus-
tomed. There is also this difference, that whereas we use Greenwich time throughout

Great Britain, and Eastern Europe, each place East or West of Greenwich has, of course,

its own meridian and its own time, which

is registered by the dial. This difference is

easily found by reckoning four minutes for

every degree of longitude separating the site

of the sundial from Greenwich. This gives

us Greenwich solar time, and, to discover

Greenwich mean time, which is what our

watches show, it is necessary to consult a

special calendar which shows the difference

for each day in the year between the two

systems, or the calendar may be so arranged

as to translate local solar time directly

into that shown by ordinary clocks and

watches. In most of the better dials, this

calendar is engraved on the plate itself, and,

in vertical dials placed on the four sides

of a block of stone, such as that in illustra-
tion No. 234 previously referred to, that

which would face North may be omitted,

substituting for it a plate engraved with

the calendar and other interesting informa-
tion such as the latitude and longitude, the

family escutcheon, the date, or a quaint

sundial motto.

The ordinary horizontal dial plate may

also be given additional interest by the

application of chaste and restrained ornament. The centre is, of course, occupied by

the dial markings, but there remain the margins and corners, which may be treated with

chased ornament or bas reliefs in the manner indicated on the sketch of the plate

accompanying illustration No. 205.

A mechanical sundial has recently been introduced, which, by projecting a spot of

light on to a mark, shows Greenwich mean time most accurately to at least half a

minute, but, like many other modern improvements, it has none of the charm and

esthetic interest which clings around the old
form of dial. It may be used with ad-
vantage on the principal terrace opposite
and close to the garden entrance to the
house for practical purposes, but, in other
parts of the pleasaunce, the older form,
with its graceful gnomon and quaint motto
will usually be preferred.

Both illustrations Nos. 205, 206 and
207 show designs for
sundial pedestals which
would suit most positions
where it is desired to
give emphasis to the
FIG. 205.— DESIGN FOR A SUNDIAL. central point in a garden

FIG. 204. — ACROLITH IN THE FORMAL GARDEN.
BROCKENHURST.

1 60

STATUARY, TREILLAGE AND GARDEN FURNITURE.

or terrace scheme, while, to close a vista, a taller arrangement with vertical dials is
usually more suitable. Vertical sundials also form a very appropriate ornament for
garden houses or for placing over a doorway in a high fruit wall or over the garden
entrance to the house, whenever any of these positions will provide a sunny aspect.

Before turning to the consider-
vases and urns of stone, bronze or
fault in most vases is that there
soil. The best of all methods is
wooden soil box to slip inside the
months of the year, the tree or
removed for shelter without dis-
Illustration No. 208 shows a square
designed to meet these practical
executed in terra-cotta with a sur-
grained sandstone. As stated else-
especially glazed ones, are to be
a form of this material can be
sentable, it is better for vases than

be made

(. -i —

and so

more . .

soil. The

design

executed
effect-

ation of wooden garden furniture,
lead must be mentioned. The great
is far too little accommodation for
to have a rough and strongly-made
vase, so that, during the worst
plant which it contains may be
turbing the heavy outer casing,
form of vase which I specially
requirements, and which has been
face closely resembling a smooth-
where, other kinds of terra-cotta,
avoided in the garden, but where
obtained which is aesthetically pre-
stone, for the sides and bottom may

thinner,
there is
room for
same . .
- might be

flu

FIG. 2O6. — SUNDIAL SHOWING A DUTCH INFLUENCE IN ITS DESIGN.

v e r y . .
ively in

lead, but there are so many small lead cisterns of clever and quaint old workmanship
to be obtained which will answer the purpose admirably (His. Nos. 209 and 210) that it is

hardly necessary to make one specially
unless circumstances demand a given
size and shape, or a number of
similar pattern are required, as when
they are to be placed at regular
intervals
along a ter-
race walk or
instead of
finials to the
balustrade.
Lead or
stone urns,
such as those
made by the
Bromsgrove
Guild shown
in illustra-
tions Nos. 2ii
and 212, are FIG- 2o8_

Terra

FIG. 207.

eminently ad-
apted for the latter purpose but, in choosing these, care should be taken that nothing is
introduced into the garden which suggests either a cinery urn or the one beloved of the
monumental mason. Of these, again, and also the pineapple finial which fulfils much the

Vases and

urns .

161

STATUARY, TREILLAGE AND GARDEN FURNITURE.

same purpose, numbers are to be found which have been removed from old houses, and
which are quite as good, if not better, than modern ones, apart from the interest which
their history may give them. In renaissance gardens they were often placed on stone
bases or used as finials to gate pillars or to mark the corners of the terrace walls.

FIG. 209.

LEAD CISTERNS.

FIG. 2IO.

Wooden

garden

furniture.

Turning now to wooden garden furniture, we are first of all confronted with the
question, — What is the best wood to employ ? A long experience of many kinds has
convinced me that, quite apart from its sentimental advantages, oak is without a rival

FIG. 211.

LEAD VASES.

FIG. 212.

for garden purposes. It is true that teak is very good, but it does not weather to such
a nice colour and, being a foreign wood, does not seem to harmonize so well with its
surroundings. Oak, too, when exposed to the weather, turns a beautiful shade of silver-

162

STATUARY, TREILLAGE AND GARDEN FURNITURE.

grey which is exactly complementary to the prevailing green of garden foliage, an advan-
tage which other woods do not share. It is obvious, too, that wood which requires
painting cannot be so satisfactory, for there must be more or less destruction, or at

least disfigurement, of any climbers growing over the wood-
work every time the paint is renewed, and this is worse still
if any such preservative stain as Stockholm tar is used,
for the volatile emanations from it will have a bad effect
on the climbers for months after application. That all oak,
if in at all large pieces, will split more or less when
exposed to the weather, however well it is seasoned, need
not, I think, be considered a detriment, for it does not
appreciably weaken the work, and gives it a weathered and
rustic effect quite in harmony with its surroundings.

Wherever oak posts are buried in the ground, they Burying
should be placed inside an ordinary glazed drain-pipe and oak posts.
the space between the two be filled up with cement.
The top of the pipe may be level with the surface of the ground, and the top of the
cement be dressed so as to slope away from the post on all sides. Even by this means
it is impossible to obtain an absolutely watertight joint between the wood and the

CEMENT.

DRY RUBBISH

FIG. 213.

FIG. 214.

cement, for the latter shrinks somewhat in setting. It is therefore necessary to provide
that the small amount of wet which finds its way into the nick between the two shall
have a means of escape at the lower end, or the post will rot. This is easily done by
burying the lowest three inches or so of the post in dry material, such as clean gravel,
or broken stone or brick, and before filling in with the cement, placing a piece of felt,
rag or waterproof paper on the dry stuff to support the cement, and so prevent it from
mixing with the dry material until it has set. The wet will then run down the post
and get away through the dry filling at the bottom of the pipe (111. No. 213).

The upper ends of all posts where exposed to the weather should be protected with
caps of wood or lead. These can be made to add very much to the appearance of the
post, especially if the caps take the form of ball-finials or small urns (111. No. 214).

While these remarks on the choice and preservation of timber apply equally to all
garden furniture wholly or partly constructed of wood, they have particular force when
applied to trellis.

163

STATUARY, TREILLAGE AND GARDEN FURNITURE.

Trellis. Mr. Belcher, in a most able paper read before the Royal Institute of British

Architects made some remarks concerning it which apply so aptly to our present subject
that I have ventured to quote him at some length. He said :— ' Wherever wood
" construction has been in vogue, varied
" treatment of ' post-and-rail ' and 'lattice
'' work ' has been in use all the world
" over. India and Burmah, China and
" Japan, each has its characteristic treat -
" ment worked out with wonderful
" elaboration and finish. The familiar
" Cairo lattice work is another variety
" of the same thing in the East, while
" every European country on which the
" sun shines, has its own method of afford-

FIG. 215.

" ing shade and shelter by trellis-work. It is the ease and facility with which daring

" experiments can be made which render it valuable. It can be altered and shifted at

' pleasure until the desired effect is obtained in a way solid and valuable material

" prohibits "

' In the art of laying out a garden, as in architectural designs, there is a certain
" seductive mystery gained by partly concealing and judiciously screening some parts

" from immediate view. By this means
" the imagination is tempted to conjecture
" the presence of hidden delights beyond,

FIG. 2l6.

" and interest is quickened in expectation of some further enchantment."

" Besides the fact that divisions of some kind are necessary for such surprises to the
" casual visitor, they have always the additional and permanent advantage of affording

" seclusion, quiet and comfort,
flowers
retreat,

' The very flowers and shrubs
" enjoy the retreat, for in the
" shelter they luxuriate, and their
«--o" " sweet fragrance is not dispersed
" by rude winds. Tall hedges of
" yew, laurel, or holly form sub-
" stantial divisions, but years must
" elapse before such hedges can be
" effective. And here the common
" or garden trellis will prove the temporary substitute. Against it the hedge can be
"planted, protected and trained. On the wood trellis roses, clematis, jessamine and

FIG. 217.

164

FIG. 2l8.

STATUARY, TREILLAGE AND GARDEN FURNITURE.

" honeysuckle will climb readily, and show their preference for it over cold and
" uncongenial iron rods and chains of wire."

' With the flexible laths, deep archways can be formed in the trellis division just
' long enough to form a dark frame to the picture beyond. Or if a peep is required
' here and there, a few laths can be cut and a bent piece or hoop of wood, circular or
" oval, inserted, forming an unglazed
" window in the trellis or hedge. Should
"it be desirable that the upper part of
" a high screen, or parts of it, be more
" open or only partially hide what is
" behind it, then the trellis can be cut
" into patterns more or less open as
" desired — sometimes in panels, sometimes
"in a running pattern."

In designing trellis for out-of-doors
use, it is first of all necessary to re-
member that it is to form a background or framework on which to display growing things.
While this does not prohibit the adoption of a design which shall be beautiful in itself, its
beauty must be of very unassertive order, or it will compete with that of the flowering
and foliage plants with which it is adorned, and so show evidences of bad taste and
ostentation in its arrangement. The accompanying designs (Illustrations Nos. 215, 216,
217, 218 and 219) will show exactly what I mean, and will supply material for adaptation
to the design of trellis screens for different sets of conditions. In designing trellis it
is also necessary to remember that in every case a sufficient number of both horizontal
and vertical pieces must be provided throughout the design for the support of the
climbers. Thus, any kind which, over a considerable area, has only vertical bars, would
prove unsuitable in practice.

The cheap expanding portable lattice, which is such a poor and untidy material as
generally used, may make an exceedingly cheap and neat trellis when inserted in a strong
framing of pitchpine, with posts about three inches square and rails about three and a
half inches deep, and two and a quarter thick. It may also be combined with specially
made lattice or with riven oak spads in a variety of ways, and is particularly useful,
when framed up thus, for use in cottage gardens, if finished with four good coats of
green paint of good and lasting quality. %

Trellis, of whatever kind, must of course be firmly fixed together at every intersection
of its members, not only to make it rigid and strong, but also to prevent warping. In

the case of oak
trellis this may
be done either
with wooden pins
or copper brads.
Iron nails should
never be used in
oak as, immedi-
ately after the
first shower of

rain to which the work is subjected, black stains will begin to appear round each. Copper
has not this effect. In square plain lattice, such as that which fills in the spaces between the
pillars in the pergola shown in illustration No. 388, oak pins are extremely effective and.
if made from absolutely dry and thoroughly seasoned material, are quite satisfactory.
Almost all the drawings for pergolas in this work show its effective application to

FIG. 2I(j.

Design of

trellis

screens

165

STATUARY, TREILLAGE AND GARDEN FURNITURE.

Trellis for
covering
walls .

Openings
in trellis
screens .

Rose
arches .

Rose

screens.

varying circumstances, while some of the garden plans illustrate uses to which it may
be put, as, for instance, in screening cropping ground from the tennis lawn in the
writer's own garden (Illustration No. 380).

Trellis for covering blank walls is generally best made in perfectly plain squares
about nine inches between the laths both vertically and horizontally, and of course the
framing may be lighter than when it has to stand alone. Unless it is made of oak, it
ought to be so fixed as to be easily removable from the face of the wall, as far as may
be without tearing the stems of the climbers, in order that it may be repainted at
intervals, and, if the wall is distempered, as so many roughcasted walls are, this will be
still more necessary as lime distemper is very injurious to the foliage, besides looking
very untidy when splashed on it.

An opening in a trellis screen to allow a path to pass through it always provides
the opportunity for an effective arrangement. It is very rarely that the screen itself

is high enough to allow of the open-
ing being cut through it, and so an
arch has to be formed over the path.
The central part of the pergola in
illustration No. 192 will show how
this may be done in wood, while the
rose arch in illustration No. 219
indicates how an iron arch may be
contrived with happy effects.

Rose arches may of course stand
alone very effectively, and if a series
of them cross a straight path at
intervals of eight or ten feet, we
reproduce the old-fashioned rose bower
in its best and most satisfactory form.
The iron and wire arches one so often
sees are, however, extremely unsatis-
factory things, not only because they
are flimsily-made and soon lose their
shape, but also from the fact that,
iron being a rapid conductor of heat,
roses and other climbers are checked
in their growth by the coldness of
the material which supports them.
Such an arch as that shown in
illustration No. 220, although formed
partly of iron, is not open to this

objection, for, by the time the roses reach the iron archbars, they are well established in
vigorous growth, and are not affected to the same extent by the change from wood to
iron. Illustration No. 221 shows a simpler arrangement constructed entirely of
unpeeled larch.

Illustration No. 222 shows another way in which arches of this kind may be used to
form a screen instead of trellis. In this case they are placed side by side instead of one
behind the other, and probably a better method still would be to place them further
apart and hang light chains between each two, on which to train the climbers.

Another fence of the same kind can be contrived by simply erecting posts at intervals
of say ten feet, and hanging chains between them, the whole being clothed as densely
as possible with climbing roses, honeysuckle or clematis. It may be objected that the

FIG. 22O. — ROSE ARCHES OF IRON WITH OAK POSTS.

166

STATUARY, TREILLAGE AND GARDEN FURNITURE.

chains would swing in the breeze and so chafe and tear the climbers, but this may be
prevented by fixing the centre of each length to a neat stake driven into the ground.
A variation of this arrangement, which will suggest many others, may be obtained by
erecting a low trellis fence about three feet high and carrying the posts up a further
four feet and suspending chains between them, the centre of the chain being attached
to the top rail of the fence.

Such screen fences of trellis, arches or rose festoons need not necessarily be in straight
lengths. In the chapter on kitchen gardens we have shown how effectively they
may be used in a circle round
the dipping well, with seats backed
against them and arches over the
pathways approaching the well
head. They may also be used in
a semi-circle to give an apsidal
recess round a semi-circular seat,
and other cases will occur, such
as a semi-circular arrangement of
flower beds at opposite ends of a
lawn, which will need the shelter
of a curved fence of trellis work.

Traditional French treillege,
which is a highly elaborated form
of trellis work for interior decor-
ation, has been mentioned in con-
nection with conservatories, where
it is generally used. It is too highly
decorative for general use in the
garden, but its simpler forms may
sometimes be employed effectively
in relieving the bare walls of the
courtyard to a town residence
when they are viewed from the
principal windows. The ornament
must however be severely restrain-
ed, and the scrolls, perspective
panels and rococo work which
characterise the original examples
should be omitted as too flam-
boyant for use out-of-doors in the

English climate. As in all the other trellis illustrated, the effect is sought rather in
the disposition of the parts and the spacing of the laths than in supcradded adornment.
Such trellis could only be graced by the lighter climbers, which would not hang in thick
enough masses to obscure the design or strain the thin and delicate laths which are
essential to it. To prevent a bare effect, trees in tubs would be placed in front of it
at intervals, varieties which bear a profusion of brilliantly coloured flowers, and which
have a long flowering season being chosen in the case of a town garden.

Such tubs, of which designs are given in illustrations Nos. 223, 224 and 225, are
essential to the success of a town garden in a small courtyard, where it is necessary to
obtain the greatest amount of bright colouring at all seasons, and there is not room for
plants which are not actually in flower. The vases previously described are, of course,
indispensable, but they cannot be included in great numbers without over-elaboration, so

FIG. 221. — ROSE ARCHES OF LARCH WOOD.

Treillege.

Wooden
tubs.

167

STATUARY, TREILLAGE AND GARDEN FURNITURE.

Seats .

FIG. 222. — A ROSE ARCH SCREEN AT FOOTS CRAY PLACE.

that, although they must be used to emphasize the design and punctuate particular points,
the smaller and more portable tubs will also be required. Filled with sweet bays of
either the mop-headed or pyramidal varieties they are particularly useful, while, in the
town courtyard, a screen of greenery may be contrived by placing a row of Thuja
Lobbii or Cupressus erecta viridis in tubs as close together as possible, to form a hedge.

FIG. 223.

It is on a paved
country house over-
lawns, however, that
most useful. Such a
somewhat exposed to
the tub is far better
trived in the paving,
removed in the Winter,
also be placed on the
wall to mark the sides
or at intervals to

terrace in front of a
looking gardens and
the tree-filled tub is
position is usually
winds, and therefore
than a soil bed con-
as the tree can be
Tree-filled tubs may
flat coping of a terrace
of flights of steps,
punctuate its length,
stone finials would be

FIG. 225.

FIG. 224.

and especially where

too formal and obtrusive. For such positions a rather squatter tub is usually desirable
than when it stands inside the parapet in order to prevent a top-heavy appearance.

Garden seats may be of wood, stone or iron. Of these three materials there is no
doubt that, in this climate, wood is the only one which is really satisfactory. For
eleven months of the year, the other two are so cold as to be quite comfortless, and
even dangerous to the health, though, of course, there is no reason why stone seats
should not be fitted with a wooden grating, which can be removed in bad weather, and.
in the case of a classically detailed terrace wall which demands a seat on traditional

1 68

STATUARY, TREILLAGE AND GARDEN FURNITURE.

lines in the same material, I would certainly advise that this be done. Elsewhere,
however, wood will look more in keeping with the sentiment of the English garden.

Within the last few years there has been a great improvement in the design of the
general run of garden seats, though examination of a few examples will show that too
much attention has been paid to the effort to copy the general lines of pre-Georgian
work without giving sufficient care to the relation and proportioning of parts. Most of
the designs seem to lack definite purpose in their conception and execution, and in those
given (Ills. Nos. 226, 227, 228, 229, 230 and 231) an attempt has been made to over-
come this de-
fect, and to
give a seat of
comfortable
proportions
without sacri-
ficing grace of
form. The
usual length
for such seats
is six feet,

but, of course, for special positions, from five feet to twelve feet long may be necessary.
Where, however, the length exceeds nine feet, an extra arm dividing it into two parts
is often desirable.

For woodland walks and outlying parts of the grounds, very simple designs are
usually best. A very good form is that in which the back is made of solid boards and
is hinged so as to close over the seat and keep it clean when not in use. Such a
contrivance may, with care, be made quite neat and in keeping with its sylvan
surroundings.

Of iron seats, it may be said with truth that most of the existing patterns are
atrociously ugly, and not very comfortably proportioned. There is no reason why this

FIG. 226.

FIG. 227.

FIG. 228.

FIG 229.

should be so, and the writer has seen Georgian examples in that most intractable of all
materials, cast iron, which were charming in every way. It is the more modern
productions with their ridiculous filigree ornament which offend the canons of taste to
the greatest degree.

Curved seats are often required, and are particularly suitable for placing at the
end of a garden vista, when additional point may be given to the arrangement by
marking the centre from which the curve is struck by a sundial or a choice piece of
statuary on a tall pedestal. Illustration No. 232 shows a similar arrangement which

169

STATUARY, TRETLLAGE AND GARDEN FURNITURE.

Dovecotes.

would lend itself particularly well to adaptation for use in the garden attached to a
classical mansion at the end of a vista formed by a path between herbaceous borders. The
most useful size is nine feet long measured straight across between the two ends, but, of
course, in almost every case, such seats will have to be made exactly to suit their particular
surroundings, both as to size and the amount of elaboration or simplicity in the design.

FIG. 230.

FIG. 231.

Dovecotes are extremely decorative features where it is possible to introduce them,
but, unfortunately, the havoc wrought by the doves in the flower garden prevents their
extended use. Illustration No. 233 shows a design erected in a garden laid out by

the Author. In even such small dovecotes
as this, the interior should be divided up
into a series of boxes with only one entrance
to each. The usual size is about twelve
inches every way, but fan-tailed birds should
be given a little more room if possible.
Where it is desired that the birds should
breed readily this is still more necessary,
and, if possible, there should be a second
nesting-box opening out of the first. That
the dovecote and the nests can easily be
kept clean is the most necessary requirement
in their design, and inaccessible corners
which cannot be reached for cleaning are to
be avoided. Dovecotes contrived in the
gables of out -buildings and summer-houses
are, of course, more practical than those
of the form illustrated, where the doves,
and not the quaint erection itself, are
the attraction, or where a considerable
number are to be kept. Attached to
several of the old manor houses of England
are large circular dovecotes about twelve
feet in diameter, the brick or stone walls
of which are honeycombed throughout with
nesting holes. A large framework supporting

a ladder is built to a circular post, which is placed in the centre of the building, so
that the whole can be revolved and any one of the hundreds of nests be reached at
will. The walls are about fifteen feet high, and support a conical roof which has a
lantern at its apex to accommodate the pigeon holes by which the birds pass into and
out of the building.

STONE GARDfrl SEAT
HAGUE

FIG. 232.

170

STATUARY, TREILLAGE AND GARDEN FURNITURE.

Illustration No. 417 shows the exterior of an aviary which, though not designed by
the Author, forms a very welcome adjunct to one of his garden schemes. It is remarka-
ble that such features are not more common than they are, as they not only add variety
to the other charms on the garden, but allow of effective decorative treatment.

Although very few domains possess a sheet of water large enough for boating, this
chapter would hardly be complete without some reference to boathouses and water
pavilions, for there are many lake-side and river gardens which will require these adjuncts.

Boathouses will vary very much in design and accommodation, according to circum-
stances, from a simple shelter to accommodate a rowing boat, a couple of canoes, or a
Thames punt (111. No. 235), up to the more pretentious erection required for use with

Boat-
houses.

FIG. 233.

FIG. 234.

the sailing boats used on the English Lakes, which will have to be provided with wet
and dry docks. In any case where the erection is large enough to give the necessary
base-line for a properly proportioned building of two storeys, a tea-room partly built
into the roof in a quaint manner and with a broad outlook over the sheet of water,
cannot fail to be a much-appreciated feature. In the Winter, too, when not required
for its more legitimate purpose, it may be used for storing and redecorating the boats,
and, for this reason, should be provided with a fireplace, if possible in an old-fashioned
deep ingle. In other cases, the room over the boat shelter may be arranged as a
dressing-room, with a staircase giving convenient access to the water near the entrance to
the wet dock, so that it may be entered by bathers without encountering a cold wind.

171

STATUARY, TREILLAGE AND GARDEN FURNITURE.

While a rustic appearance will usually be desired for a boathouse which stands on
the margin of a picturesque river or lake, this should be obtained solely by simplicity
of treatment and not by any of the tricks of the so-called rustic builder. Where stone
is the native building material, rough strong work in squared rubble, without any dressed
stone beyond that which is absolutely necessary to the arched entrance to the wet dock,
should result in an erection which, when smothered in ivy and other native creepers, will
be quite in harmony with its surroundings. The arch itself should be semicircular in
form, and neither elliptical nor pointed, either of which would look artificial and
unrestful.

FIG. 235. — SMALL BOATHOUSE WITH SHELTER OVER.

Water Water pavilions will be still more rarely needed, and their design will depend so

pavilions. much on local circumstances that it is impossible even to lay down any general rules for
their arrangement. It is, however, evident that a strong influence in this direction will
be exerted by the reflections of the building in the water, as they will double its
length without increasing its breadth. The design therefore, while it makes the most
of this added length, should possess strongly marked horizontal lines to balance the
lengthwise perspective. The Chinese water pavilions which were so mistakenly introduced
into this country a hundred years ago, at least pointed the way in the direction just
advocated, and our aim should be to achieve the same result in a less exotic style
of architecture.

172

X
D

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DECORATIVE

CHAPTER XII.

From childhood to old age, water in its many natural and decorative forms, has an
indescribable fascination for the mind. No doubt the reason for this is found, at least
to a very large extent, in its variableness. Its surface alters with every shower which
feeds it, every change in the sky it reflects, every variation in the breezes which touch
its surface, every stage in the changing seasons and every hour of rotating day and
night, so that it may be said, with perfect truth, that never do we see it under the
same conditions twice and never is its surface the same.

There is another way, however, in which water appeals to us, and that is in its
marvellous facility for adapting itself to its surroundings. On the wild mountain side,
it rushes headlong over the rugged precipice with a dull roar which adds to the wildness
of the prospect, and, on the other hand, in the peaceful meadow, it flows still and
silently, its surface perhaps scarely ruffled by passing breezes and in perfect harmony
with browsing kine and gently waving reeds.

It is only when man, neglecting the lessons of Nature, tries to reproduce her in-
comparable beauties on a mean scale by feats of obtrusive engineering, that water can
fail to please. Here we may take our first and most primitive rule for its use in our
gardens, never to belittle Nature by feeble imitation, but where the conditions will not
allow of the introduction of water, shall we say, on its own terms and among purely
natural surroundings, to treat it in an honestly and confessedly conventional manner, in
keeping with the rest of the scheme and in scale with the whole, whether it be as the
lordly canal before a renaissance mansion or the quaintly detailed bird-bath before a
cottage window.

We need never fear that, in training it to conventionalized uses, we shall destroy
its charm. In whatever way it is employed, where it rises or falls it will provide a
brilliant high-light, where it lies still, a deep mysterious shade, and where it ripples over
a shallow place, the very essence of joyous life ; at all times a sensation of coolness and
freshness and a temptation to rest.

Although many, perhaps most, gardens have to be content without water in any
form, it may be questioned whether they are really complete without it, if only a small
pond, reflecting and blending, in thousands of beautiful ways, the hues of flowers, foliage
and sky, at the bidding of every passing breeze ; or but a swamp pool, hidden away in
cool, fern-embowered shade and fringed with luxuriant masses of bulrush, iris and sedge.

In devising the form in which water shall be introduced into the garden and the
design of its receptacle, there is a vast range for the exercise of the imaginative and
creative faculties.

Water's

fascinating

qualities.

175

THE DECORATIVE TREATMENT OF WATER.

Water's

many
applica-
tions in the
garden.

Fountains.

The landscape gardener, in his naturally arranged lake and waterfall, endeavours to
create a sense of breadth and rural simplicity, while the scholar, inspired, possibly, by
the classical Italian and old English examples, prefers the elegance of the circular or
geometrically planned pond ; and each is right in his own sphere. All schools, however,
agree that water in some form is desirable — the Italians in their numerous cascades,
fountains and pools, as at the Villa d'Este ; the French in the virile and heroic
compositions of le Notre at Versailles, and the Japanese and English in their freer
but equally distinctive styles.

It is seldom that an opportunity occurs in an English garden for formal arrangements
of water on the scale which gives character to so many Italian and French gardens.
Even in the larger public parks we feel instinctively that elaborate and theatrical displays
of waterworks are out of place and out of keeping with the prevailing national spirit.
In this country, large sheets of water are more often obtained by flooding valleys or
low-lying land, the resulting lake or pond having an outline which follows the natural
contours of the surrounding rising ground, an arrangement which suites our homely
landscape far better than those in which engineering feats are much in evidence. We
have, however, many formal arrangements of water which, though on a smaller scale
than the classic examples just quoted, are more suited to their environment, such as
the canals of Hampton Court, Chatsworth and Melbourne, Derbyshire, or the Round Pond
at Bushy Park. In other places where gardens with smooth lawns bound a river on
either side, as at Clare College, Cambridge, the river, lawns and any accompanying
architectural features may be grouped into one formal composition with excellent
results and even where only one side of the river is available for treatment, as at
Trentham or Drakelow, Derbyshire, a successful formal arrangement may be evolved.

These, however, are schemes which are only adapted to large gardens accompanying
palatial mansions and for use in the home park, and it is in the garden near the house
that water is most entrancing. Fortunately there are so many ways in which it may
be adapted to varying circumstances that few gardens need be without it in one form or
another. The manner of its introduction will not only be dependent upon the character
of its surroundings and its position in relation to the residence, but also upon the volume
and pressure of the supply and whether it can be obtained on the estate or must be
brought from a distance, also whether it must be paid for by meter or otherwise. If
the supply is from a stream passing through the grounds, a good head of water would
suggest a series of cascades, while if the stream were one of those sleepy rivulets so
characteristic of the home counties, then the obvious treatment would consist in the
arrangement of a formal lily pond or ornamental canal in which iris, reeds, or other
water-loving plants might be naturalized.

Having thus touched briefly upon the introduction of water into the design of the
garden, and mentioned its various forms, we may now proceed to deal with each of these
more in detail.

By far the most generally useful of all these is the fountain, in one or another of
its many kinds, which vary from the single jet rising from a simple pond to the elaborate
and sculptured designs for which Versailles is famous. The choice is therefore a wide
one, but, as in every other feature of the English garden, while the design and degree
of elaboration should express a full sense of the relative importance of its position in
relation to surrounding features, it is far better to err on the side of too simple a
treatment than too great complexity and over-elaboration.

In nine cases out of ten where a fountain is well placed, it will form part of either
a formal terrace scheme or the central ornament in an old English formal garden such
as a rose garden. In the former instance, if the position is at all exposed, it may not
be possible to have a rising jet, as the wind would blow it clear of the basin into which

176

THE DECORATIVE TREATMENT OF WATER.

it should fall, and so prevent the terraces from being used at all on its leeward side, Fountains
while in the case of the formal garden, which would usually be enclosed with tall clipped in exposed
hedges, there would be ample shelter. Neglect of the effect of winds on the fountain Positions.
is the cause of more failures than any other factor. If, whenever there is more than
the gentlest breeze, it renders all its surroundings damp, there will be comparatively
few occasions when it can be used, and the extent to which the water may be blown
is very little realized by
those who have not ex-
perienced it. To quote
an example which will
be familiar to everybody,
the writer has felt the
spray from the fountains
in Trafalgar Square, Lon-
don, at the corner of
Cockspur Street, on an
exceptionally windy day,
even though in this case
there is considerable shel-
ter from the surrounding
buildings. On an ex-
posed terrace, therefore,
it is far better to allow
the water to spout
downwards into a series
of basins, as in the
well-kno-wn example at
Revelstoke, or, where
there is not sufficient
pressure on the supply
main for this, to be
content with a bubble
fountain. One instinc-
tively feels that the best
place for a fountain is
an enclosed court of some
kind where the still air
might be oppressive on
a hot day were it not for
the sensation of coolness
and freshness imparted
by the falling water, and
it is here that the rising

jet will be least liable to be blown about. In such cases the light feathery streams
may rise from the surface of the water, or where more elaboration is called for, a
group of statuary, such as the boy and dolphin shown in illustration No. 237 may be
introduced. The height to which the jet should rise and the diameter of the pond into
which it falls, should be carefully proportioned, and, generally speaking, heaviness in the
effect on the one hand and a liability to overflow on the other will be avoided by making
the latter very slightly more in diameter than the height of the former. At Drakelowe,
Derbyshire, there is a well-balanced arrangement consisting of a circular stone basin with

FIG. 237. — BOY AND FISH FOUNTAIN.

177

THE DECORATIVE TREATMENT OF WATER.

25
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p
o

25
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1/8

THE DECORATIVE TREATMENT OF WATER.

a simple stone verge level with the grass, and in the centre a bronze figure supporting
the jet, while at Lewiston Manor (111. No. 238) the Author designed a simple fountain
of this kind, which is surrounded by a basin edged with two concentric steps leading
down to the water, the upper one level with the surrounding paths, thus obtaining a
strongly marked line of enclosure without over-elaboration. Many other well-known
examples will no doubt be familiar to the reader.

A single jet may also be used in conjunction with formal lily ponds, such as that
at Wych Cross, Sussex, shown in illustration No. 240 ; or two such jets may rise from
either end of a long pond, as at Athelhampton Hall, Dorsetshire, and wherever there
is a tendency for any formal canal or pond to appear at all stagnant, such a fountain
may be used to remove this impression.

Simple
designs.

FIG. 239. — FOUNTAIN AT ROME.

Turning now to more elaborate fountains, we are at once struck with the very
unaccountably large proportion of failures we meet with in their design and placing. If
we dismiss the cast-iron fountain made from the iron-founder's stock patterns as being
too vulgar for even serious condemnation, we still find that most of the remaining stone
or terra-cotta fountains with any pretensions to elaboration are quite unworthy of the
positions which they occupy. With regard to the latter material, it is sufficient to say
that, while there would seem to be no valid reason why effective erections should not
be possible in the more sober-coloured and stone-like surfaced terra-cottas, it has seldom
been done, possibly because the many meretricious designs produced by the manufacturers
of this material have disgusted capable men with it. The reason for the preponderance
of heavy and over-elaborated stone fountains, with the highly polished granite columns
and freestone caps surrounded by elaborately foliated cusps which form their stock
ornament, is more difficult to find, and one can only conclude that the great importance of
a well-balanced design, with the details carefully proportioned, is not generally understood

elaborate

fountains.

179

THE DECORATIVE TREATMENT OF WATER.

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180

THE DECORATIVE TREATMENT OF WATER.

by the owners, and that the work is therefore left in the hands of incapable persons,
instead of being entrusted to the architect of the residence, who would be anxious that
nothing should be placed in close K proximity to it which would not be

designed in a harmonious spirit. Be (^X. this as it may, there is room for vast

improvement in the design of these !&(3A features both for public parks and

private gardens if they are to be Wft\ worthy the prominence which, from

their very nature and use, their .TV y| IF position in the scheme must give

them. Unless the very best of both 4J design and workmanship can be

obtained, it is far better that elabor- /TV ation should not be attempted, and

that we should be content with jim a

portions. What could
than the almost severe
lines of the old example
illustration No. 239.

Three examples of
shafts are
first (Illustra-
242) there
shaft rising

basin of well-balanced pro-
be better, for instance,
simplicity and graceful
from Rome shown in

per basin
with three
porting a fur-
fa a s i n from
water falls in-
basin at the
shaft

FOLNTAN
LEET COURT

sculptured fountain
given. In the
tion No.
is a central
from the up-
ornamented
figures sup-
trier small
which the
to the larger
foot of the

FIG. 241.

and from thence into the pond below. In the second (No. 241), a fountain of

r°v/iTAi/i °n

FIG. 242.

a more usual type suitable for almost any position is given, while in the third illustration

181

Fountain
basins.

THE DECORATIVE TREATMENT OF WATER.

(No. 243) is shown a small but very chaste design which is suitable for many positions
where a large fountain pond is impossible, and which in the shaft at least bears evident

traces of Albert Gilbert's
Such a fountain might
terrace immediately in
principal entertaining
a bird bath. These
being representative of
fountain shaft, and the
shows a piece of sculp-
& Co., which could be
further enrichment of
The very mention of
for most clients, bringing
a vision of endless ex-
inefficiency, yet, if the
done in the first case,
this account nor need it
a heavy and ponderous
of the one just referred
tion No. 243, it may
like feature, which may
a sundial to centralize
or to give point and
a grass walk. The
end of a long terrace
central feature in a
when backed up by yews

FIG. 243. — SMALL FOUNTAIN OR BIRD BATH.

unique craftsmanship,
stand on an upper
front of one of the
room windows to form
three may be taken as
three different forms of
tailpiece to this chapter
ture by Messrs. Cashmore
used with effect for the
any of them,
a fountain is sufficient
to their minds at once
pense and worry and
work is thoroughly well
there need be no fear on
always by any means be
erection. As in the case
to, and shown in illustra-
even be a simple font-
be employed instead of
a group of flower beds
interest to a vista down
smallest fountain at the
walk or forming the
formal garden, especially
or other dark foliaged

evergreens, may be invaluable in giving an interesting high light whereon to focus the
eye, and has the additional merit of only requiring a small supply of water.

Whatever the
for the fountain,
but the best of its
be permanently
therefore it is far
simple erection
and strongly con-
spend the same
on a more am-
which cannot
with the same

The pond or
may be treated in
ways, a number
indicated on the
gardens given in
rule, a plain circle
or an octagon

FIG. 244. — SIMPLE FOUNTAIN BASIN'.

design adopted
however, nothing
kind can possibly
satisfactory, and
better to have a
well proportioned
structed than to
amount of money
bitious effort
be completed
thoroughness,
basin of a fountain
a great variety of
of which are
various plans of
this work. As a
( 111. No. 238 )
(111. No. 244)

is best, while in other positions, especially where jets on the four sides throw inwards
towards the central shaft, some such combination of square and semicircle as that shown
in illustration No. 245 would be more effective, allowing one semicircular bay opposite

182

FIG. 245.

THE DECORATIVE TREATMENT OF WATER.

each of the four jets. A basin oval on plan is very rarely called for, and where used
should be treated as simply as possible. Such a shape in conjunction with an elaborately
moulded kerb is unthinkable.

The design of the kerb surrounding the I B Kerbs.

basin also allows of much variety. In simple
fountains a plain flag level with the path or
grass surrounding it is most suitable, or where
a greater sense of protection is required than
this arrangement will give, the flag may be
raised on a dwarf wall, so as to bring its top
surface about eighteen inches above the sur-
rounding ground, and where a roughly built
wall and coping are suitable, it may be adorned
with little water-loving ferns and plants inserted
into the joints between the stones, or, again,
oak posts may rise out of the coping at regular
intervals to a height of about six feet, and
chains be suspended between them whereon to
grow roses.

Where greater .elaboration is needed, the
kerb may consist of blocks of stone suitably moulded, or, to obtain the richest effect of
all, a balustrade " leaning height " or three feet three inches high may be used and, if
necessary, further enriched by piers at intervals surmounted by finials, though the latter
must be very appropriately chosen and carefully proportioned if they are to look neither
obtrusive on the one hand nor insignificant on the other.

The pond itself, which should be two feet three inches deep below the water line,
if water lilies are to be grown, is sometimes formed for the sake of cheapness with a
bottom of puddled clay and walls of brick set in hydraulic mortar with a backing of
the same material, but in all cases where the basin is not of extraordinary size, it is
far better to build the whole in cement concrete carefully finished to a smooth surface
and with all internal angles rounded off so as to facilitate cleaning out. Whichever
method is used, the inside of the pond should always be constructed so that ice may
rise as it expands in freezing, otherwise it will burst the rim or carry away the coping.
All that is necessary is to finish the sides with a slope or batter, instead of making them
vertical and to give them a smooth surface.

The plumbing, consisting of the water supply with its stop cocks, the overflow Plumber's
and the means of emptying the basin, should receive special care, as there is nothing work for
so annoying and so absurd as a fountain which will not play and one which needs fountains.
continual tinkering, with the consequent damage to paths and lawns in digging up
pipes. It is impossible to lay down any rules for the size of the supply pipe as it
depends on so many factors which will vary in each case, but where there is any doubt
of the pressure or " head " on the water being adequate, much may be done by making
it extra large, avoiding unnecessary bends, and making those which cannot be avoided
as easy as possible. Whatever taps are necessary to individual jets, there should be one
main cock under a small hinged cast iron cover quite clear of the fountain itself. This
is far better than a sunk tap which must be reached with a long key which is apt to be
either left about in an untidy manner or mislaid altogether. Where there is only one
tap, the cover need not be more than four inches square, but where the supply divides
and each branch has separate taps for controlling different portions of the display, the
main cocks and all branch taps can be collected in one trap. There should also be
another tap as near the source of supply as possible, to allow of the pipe being kept

183

THE DECORATIVE TREATMENT OF WATER.

empty during the worst months of the year when the fountain will not be required,
thus avoiding the possibility of damage by frost, and where the water is obtained from a
stream or pond, the intake should be from a small settling tank with a copper-wire grid
between the inlet and the mouth of the supply pipe. This may be made quite cheaply
by the local carpenter in the form of a strong pitchpine box tarred inside and out, and
buried in the ground level with the lid, which should be hung on strong brass hinges to
withstand rust. For the same reason, all the taps should be of gun-metal, and if the
pressure is at all great, of the screw-down type.

The overflow should of course be of a larger diameter than the supply pipe and
should be provided with a strainer to prevent leaves and other debris, which blow into
the basin, from choking it. It should be so placed as to keep the water level as high
as possible so that a long stretch of bare wall or concrete does not show, as in such
case the basin will look too much like a tank or well. Means of emptying the pond
for cleaning out should be provided by a pipe communicating with the overflow. In the
case of small fountains it may be plugged by an ordinary plumber's bath waste with
its brass plug, but in the larger basins, Pulham's patent plug, which consists of a stone-
ware ball dropped into the open end of the pipe, may be used. Needless to say, all
connections should be accessibly arranged in case repair becomes necessary.

Wall Wall fountains form a distinct class in themselves, and it is fortunate that, in their

fountains. case, we have not to deplore the dearth of beautiful designs referred to above in speaking

of sculptured fountains surrounded by a pond. Hardly a single year passes without

one or more exquisitely proportioned models for this class of fountain being exhibited

at Burlington House, and indeed it would seem to be an object for the exercise of

artistic genius which particularly appeals to
sculptors of note. The worst that can be
said of these designs is that they seem a
little lacking in originality of motif, as they
generally consist of a nude or classically
draped female figure poised above a shell-like
tazza. It is the more surprising, therefore,
that one so seldom comes across one of these
beautiful adjuncts in the average garden,
especially when one reflects that they are
equally delightful in the largest schemes and
the smallest garden plots and cost so little
for the tiny stream which is sufficient to
give them their raison d'etre.

In the large pleasaunce, of course, they
would, unless on a large scale, form only a
subsidiary feature, giving point and interest
to an otherwise blank wall facing the end
of an important walk, or adding the cool
influence of falling water to a shady retreat.
In small gardens, however, they may form the
central ornament up to which everything
else leads more or less, which does not
mean that the little domain should have only
one interest or be devoid of that charm which
only contrast and a certain complexity can give.

For large wall fountains, such as are only occasionally required, there is abundant
precedent in the ancient " lavatories " attached to monastic institutions in Italy, while,

FIG. 246. — WALL FOUNTAIN AT FLORENCE, BY
DONATELI.O OR VERROCCHIO.

184

THE DECORATIVE TREATMENT OF WATER.

for smaller ones, most of the larger Continental towns can provide material for adaptation,
such as that shown in illustration No. 246. Illustration No. 247 shows one essentially
English in its treatment.

Before leaving the subject of fountains, a practical point of prime importance applying Water
equally to every kind must be touched upon. This is the paramount necessity of a con- supply for

stant and ample supply
of water at a cheap
enough rate to allow
of its regular use. To
insist urgently on such
an obvious point would
seem somewhat un-
necessary, if practical
observation did not
show that fountains
as garden ornaments
have become complete-
ly discredited in the
minds of many people,
from the numbers of
failures from this cause
which disfigure the
pleasaunces of this
country. The fountain
should play joyously,
not weep sadly, and
nothing can be more
distressing to the true
lover of gardens than
a dusty fountain de-
void of water or one
which feebly trickles,
the very picture of
ineptitude and incapa-
city. No amount of
fine sculpture or effec-
tive setting can justify
a fountain which can
only be used on very
special occasions and
then suggests nothing
so vividly to the mind
of the owner as a vision of water bills to come.

In this connection Evelyn's description of the fountain at Hampton Court comes to
mind. " In ye garden is a real noble fountain with syrens, statues, etc., cast in copper
by Farnelli, but no plenty of water." Constancy of supply is of far more importance
than a large amount or a heavy pressure, though all these factors will have their influence
on the form the fountain will take. If it is known beforehand that, at certain seasons,
the supply will be very slight, while at others there will be more water than can be con-
veniently used, the fountain may be so designed that it will appear complete with one
small jet, while other displays may be available for use when possible. There may even

fountains.

FIG. 247. — WALL FOUNTAIN IN GRANITE.

185

THE DECORATIVE TREATMENT OF WATER.

Dipping
wells .

Cascades

be two separate sources of supply. Thus in the case of the fountain shown in illustra-
tion No. 242 and already referred to, the central jet might be fed by the smaller and
reliable supply, while a bubble fountain, to be used only when the larger and more fickle
stream is available, might be arranged under the arched cavity at the base of the central
shaft. It is possible to imagine a case in which a third and possibly expensive supply
were added for occasional use, when the same fountain might be fitted with jets rising
on all sides from near the rim of the lower basin and sprouting inwards into the higher
basin after the manner of Carpeaux's fountain of the Zodiac. Thus, whether one, two
or three sources of supply were in use, the fountain would have the appearance of being
fully furnished and complete.

If aquatic plants are to be grown in a fountain basin, it should be made large enough
to allow of their being placed away from the main streams of falling water, or they
will be in danger of being beaten down by it, and if gold or silver carp are to swim in
it, some shelter from the light should be provided either in the form of plants or loose
stones. It is not generally known that they cannot close their eyes.

The dipping well for use in the kitchen garden has the special advantage of ful-
filling a utilitarian purpose as well as allowing of artistic treatment. As every gardener
knows, icy-cold water drawn direct from the supply pipe, should not be used for watering

purposes, but it should be exposed to the air
for a time in order that it may take the
temperature of the surrounding atmosphere
before being poured or syringed over the
plants, and this can best be accomplished by
the provision of a dipping well in a central
position in the kitchen garden. How the well
and its surroundings may be composed into one
of the most attractive features in the domain
is described in Chapter XV., and it is sufficient
here to describe its construction.

The most effective dipping wells are, as
a rule, those which are formed from old
well-heads imported from Italy and which were
originally constructed by hollowing out the

capital of a pillar from a ruined temple dedicated to one of the deities of the Roman
pantheon. Sometimes they have been provided with a wrought-iron over-head arrange-
ment from which to suspend the rope and bucket, and this may with advantage be retained
as an ornamental feature. Another very useful form consists of a hexagonal or octagonal
brick structure with a plain coping made from stone flags. From the nature of its
position in the more utilitarian portion of the grounds, great elaboration in its design
would be entirely out of place.

Dipping wells should, of course, be fitted with a water supply, and where it can be
contrived so as to be out of sight and safe from damage from cans or buckets, a ball
tap to keep the water-level constant should be added.

Architecturally treated cascades can only be successfully formed where the character
of the accompanying architecture demands magnificence. As before stated, opportunities
for work of this character on the largest scale will only seldom occur in this country,
and it is difficult to conceive any circumstances which would allow of anything on
the scale of the cascades at the Villa d'Este. This is not only the result of a national
conservatism which makes any superlative effort after grandeur appear forced and un-
natural, but also of climatic conditions. In hot and dry countries, such as Italy or
India, such features appear indigenous, but here, where only one or two months in the

FIG. 248.

186

THE DECORATIVE TREATMENT OF WATER.

year are hot enough to justify their creation, they appear to be the result of an exaggerated
effort. There is, however, no reason for the very marked dearth of architectural cascades
on a simple scale, unless it be the difficulty which would often be experienced in obtaining
a sufficiently large supply of water at a great enough elevation above the residence,
which is usually built on a hillside with the stream in the hollow below. While this
may prevent the formation of a large stepped cascade, however, some such arrangement as
that shown in illustration No. 249, should be possible in many situations. This gives
the lowest of a series of tazzae which it is proposed to construct on the hillside, each
with its outlet spouting into the one below, an arrangement which would not demand a
large volume of water. The one shown is designed for and executed in granite for
erection in the neighbourhood of Dartmoor, thus emphasizing a local characteristic, but in
other districts, where the native material would allow of a lighter treatment, a more
elaborate and lighter " motif " might be adopted.

FIG. 249. — WALL FOUNTAIN (FIRST OF A SERIES) AT HANNAFORD, DEVONSHIRE.

The formal water lily pond is a delightful feature which is growing in popularity in this Water lily
country. In illustrations Nos. 240, 248, 251 and 256, are shown examples erected in ponds.
recent years from designs by the author, and it will be seen that, in almost every case, they
fulfil the functions of a fountain as well as providing a large mirror for surrounding foliage
or architecture. In fact the water lily pond may be considered as occupying a middle
place between the fountain basin with its very restricted area of water surface on the one
hand, and the large formal canal on the other, and to partake to some extent of the
nature of both.

It thus follows that they form most delightful features which are adapted to
gardens of very varying size and kind, and they have in addition the pre-eminent
advantage of introducing to the garden whole families of plants which would otherwise
be absent.

187

THE DECORATIVE TREATMENT OF WATER.

Moats.

Bathing
ponds.

Their construction is very much the same as that for a large fountain basin, and
whether they have a bottom of puddled clay or concrete will depend very much on
local circumstances or their size and whether the aquatic plants are to be grown in pots
or not. Illustration No. 248 shows a very useful shape and its main proportions.

For water lilies, a depth varying
from twenty to thirty-three inches
is most suitable, but calla, sedges
and iris must be arranged with their
crowns only two or three inches under
water. Illustration No. 252 shows
how both classes of plants may be
accommodated in a long and narrow
pond by recessing the sides and
keeping the recesses shallow, while
in illustration No. 251 will be seen a
pond, the corners of which have
been roughly walled round with
stones to form a shallow portion
filled up with good stiff soil.

While all lily ponds must be
beautiful during the Summer months
when they are adorned by flowering
aquatic plants, there is danger of
their becoming uninteresting in the
Winter when the plants are dormant,
unless this drawback is guarded
against by designing them so as to
be interesting in themselves. It is
for this reason that a piece of choice
bronze or lead statuary should al-
ways be introduced somewhat in the
manner of the boy and dolphin
shown in the photograph of the lily-
pond designed by the Author for
Sir William Lever, with or without
the stepping stones for reaching the
plants shown in the same illustration
(111. No. 275). Another suitable sub-
ject is given in illustration No. 250).
The moats still to be found sur-
rounding some ancient manor houses
and the larger historic country seats,
offer splendid opportunities for the
cultivation of aquatic plants along
their margins. That shown in the
plan of the gardens at Little Onn

Hall, Staffordshire (111. No. 405), does not surround the house, but some old monastic
ruins in the grounds, and the accompanying foliage, water, ruins, and ancient fish-stews
together make a most delightful composition.

Wherever a stream of clear cool water flows through a garden, it may with com-
paratively little expense be dammed up or diverted, as shown in illustration No. 253, to

FIG. 250. — STATUE FOR A LILY POND.

188

THE DECORATIVE TREATMENT OF WATER.

FIG. 251.— WATER LILY POND AT ASHTON-ON-TRENT.

FIG. 252. — TINY CANAL AT ASHTON-ON-TRENT.

189

Formal
Canals.

THE DECORATIVE TREATMENT OF WATER.

form a bathing pond, and even though the pond must be fed with collected surface
water supplemented by the domestic supply, facilities may be provided for those residents
or guests who belong to the increasing number of persons who delight to begin the day
with a vigorous cold plunge taken in the open air. A more elaborate arrangement which
would in itself form a decorative adjunct to the general garden scheme, is shown in
illustration No. 254, and is designed to accompany an Elizabethan mansion, while the
simple hut for disrobing shown in the first example is replaced with a comfortable and

convenient dressing
room. A bathing pond
may often be contrived
very cheaply on those
rugged portions of the
coast which are not
suited to shore bathing
by enclosing a small
creek with a simple
sluice to retain the tide
water.

Every bathing pond
should, of course, have
a means of emptying,
as this will be frequently
necessary, or decaying
vegetable matter, which
inevitably collects there,
will become offensive
when the water is stirred
up by a bather.

The large architec-
tural ponds or canals
which figured so prom-
inently in the designs of
Le Notre were never
fully appreciated in this
country, though there
are a few examples re-
maining to attest their
beauty and propriety,
such as the well-known
one at Wrest, Bedford-
shire. That we have
not a greater number of
such beautiful sheets of

water is surprising and partly arises no doubt from the teachings of the early-Victorian
school of Landscape Gardeners who maintained that, in no case, could a formal arrange-
ment be beautiful. The objections urged against architectural ponds by those who
affect to admire the miniature quasi-natural lakes or pools so often attempted in small
gardens with such purile results, are more imaginary than real. The water in the
former is as much a mirror as in the latter, while the architectural pond has the further
advantage of suitability to its environment and particularly to the architecture of the
house. The same art which regulates the outline of the basin or pond takes into

FIG. 253. — A RUSTIC BATHING POND.

190

THE DECORATIVE TREATMENT OF WATER.

account also the surroundings and character of the margins to be reflected in the water,
while the reflections cast by floating clouds and the animation produced by water-fowl
are shared by both alike. In cases where there is any fear of a shortage of water,
practical considerations favour the formal pond, as its construction not only allows of
its being made more watertight and thus economising the supply, but also makes
cleaning out an easy process, a most necessary undertaking if there is the slightest doubt
of the supply being strong enough to keep it clean.

The long water lagoon at Kearsney Court near Dover, of which photographs are
given in illustrations Nos. 235 and 236, is a notable instance of the formation of a large
sheet of ornamental water which seemed immediately to fall in with its surroundings.
The large elms and other full-grown timber trees which bordered the boggy depression
in which it was constructed, though not evenly spaced, or even of one kind, nevertheless
give an
avenue-like
effect and
fall natur-
ally into
their place
as part of
a formal
composi-
tion on a
somewhat
large scale.
Before the
work was
undertaken,
the stream
which now
feeds the
canal pass-
ed under-
ground and
out of sight
owing to
the porous
nature of
the subsoil.

OPEN - AJU
3W1MMINO
BATH
FED BY
3TUCAM

FIG. 254. — AN OPEN-AIR SWIMMING BATH.

This made it necessary that the whole of the bed of the canal should
be covered with a layer of concrete. It is rectangular in shape with a widened centre por-
tion. At each end is a bridge which spans the inlet or outlet and is to be extended by
means of a pergola on either side to the full width of the formal water, thus screening
the narrow stream above and below the canal.

Another ornamental canal is shown in illustration No. 256 and is now in course of
construction on the West side of the Palace of Peace at the Hague. Here a sluggish
but fairly strong stream of water passes through the grounds at a level which allows of
any shape and size of formal pond most consistent with the plan of the gardens as a
whole. This pond has a length of four hundred and ninety feet, with a _ width in the
central part of eighty feet, and in the narrower canal part, of forty feet.

While most formal canals are of considerable extent, sufficiently so in many cases to
allow of the effective use of Thames punts or Canadian canoes, they may be adapted
to almost any size of garden and almost any position. Thus, in illustrations Nos.

IQT

THE DECORATIVE TREATMENT OF WATER.

251 and 252 is shown a tiny canal which forms part of a terrace garden at Ashton-
on-Trent in Derbyshire. This canal, although so small, is not without a distinctive
charm of its own which this very fact gives it, and is sufficient to provide interest to
this part of the garden scheme.

Where the source of supply for a formal canal is small, the most should be made of
it in order to avoid any possible appearance of stagnation. In the example at Kearsney
Court already referred to (111. No. 236), this is accomplished by arranging a small
stepped cascade in connection with the bridge over the inlet, while illustration No. 249
contains suggestions for the disposal of a
still smaller supply. In any case, the exist-
ence of the inlet and outlet and their
positions should be marked by architectural
treatment, even if it is only an effectively
arranged balustrade or suitably placed vases
on pedestals to act as pylons.

The construction of the formal canal may be either similar to that of the water-lily
pond or it may have grass banks sloping down to the water. In the latter case, the
margin should be treated as shown in the accompanying sketch (111. No. 255), with
rough pitching at the water line to withstand the strongly-marked erosive action of ripples
and wavelets and the wash from canoes and boats. The sod may be carried over the
pitching down to the water. The breadth of the band of pitching will depend on whether
any variation in the water level can be efficiently prevented and also on the width of the
canal and amount of shelter from winds, which are both factors determining the size the

FIG. 255.

FIG. 256. PLAN OF THE CANAL AT THE PALACE OF PEACE.

(THE COURT OF THE HAGUE TRIBUNAL.)

wavelets will attain. -It will thus be seen that the breadth of the pitching will need to
be much greater at the ends than at the sides, as ripples crossing the canal will not
reach so great a strength as those which travel the whole length or nearly so. If the
bottom is of puddled clay, it will be necessary to do the work in sections in order to
prevent the. clay from drying and cracking, as shown in illustration No. 257.

Whatever system of construction is adopted, the water level should be kept as high
as possible, say between eighteen inches and two feet six inches below the surrounding

192

THE DECORATIVE TREATMENT OF WATER.

ground. Where the level of the supply at the inlet makes it necessary greatly to exceed

the latter depth, the depressing effect which would otherwise result may be removed

by making two small

banks instead of one

large one, and forming

a path between the

two, as shown in the

accompanying sketch

(111. No. 255).

So far, we have
dealt with formal
arrangements of water
for use in the more
ornamental portions
of the grounds, but
naturally treated
streams and lakes have
also their use and
special charm in the
more outlying por-
tions of the domain
and in the wild gar- FIG. 257. — FORMAL CANAL UNDER CONSTRUCTION.

den.

The landscape architect is often unjustly condemned for his natural treatment of The
water, his work being mistakenly associated with some of the absurd engineering feats of informal
Capability Brown or the ridiculous miniature lakes so often squeezed into suburban gardens, treatment of
Where, however, the design and construction of such sheets of water are approached in a wa*er-
right spirit, and the mind of the designer is imbued with a great love of • Nature, and he
is content not only to be led by her in designing his work, but to follow her methods
as far as may be in their construction, the finest possible results may be obtained.
When, as frequently happens, a pond or lake already exists, and the task is one of help-
ing Nature to reassert herself and to attain her highest achievement, the result may be,
and often is, one of the most delightful parts of the domain. Here grow to perfection
plants which succeed nowhere else, ferns and lichen cover 'the rocks, and the sporting of
fish in the pools, the diversions of the waterfowl, the ripple and sparkle of water and the
waving of flags and reeds, all combine harmoniously to charm both eye and ear. A
spacious sheet of water is not only invariably a welcome feature in- the landscape, but
under ordinary conditions furnishes boating in Summer and skating in Winter, and in
these days of artificially-raised rainbow and Loch Leven trout, fishing in almost all seasons.

Lakes which entail a great expense in construction are seldom satisfactory, the best Lakes.
effects being almost invariably obtained where little more is required than a short dam
across a valley or dell. In such a case the lake must inevitably take an outline which
will exactly harmonize with its surroundings, for if the ground is gently undulating in
character, the margin will take easy, flowing lines, as in illustration No. 258, whereas
if the contours are bold and rugged, it will be much serrated and more in keeping with
the surrounding wildness. The only adaptation essential in such cases would be that
necessary to prevent the whole area of water from being seen at once^ a result which is
generally best attained by the formation of carefully placed and planted islands, thus
giving that indefiniteness of extent and variety of prospect from different positions, which
makes the Lake in Kew Gardens so charming, a result which, in this instance, is enhanced
by half a century of planting, thinning, and judicious selection in the plantations and

193

THE DECORATIVE TREATMENT OF WATER.

FIG. 258. — THE CANAL, FOOTS CRAY PLACE.

FIG. 259.— THE LAKE, KEW GARDENS.

THE DECORATIVE TREATMENT OF WATER.

pond vegetation (111. No. 259) . Here the effect is obtained in the first instance by
the outline of the lake itself, but the lake in Battersea Park, although by no means ideal
in every way, shows very well how the same effect may be obtained by means of an
island.

Tarn Hawes, near Coniston, is a good example of the beautiful effects which may
result from simply making a dam to raise the water level and leaving the rest to Nature.
By this means the late proprietor succeeded in making the present sheet of water, so
well known to all frequenters of the English Lake District, where before were a series
of smaller ponds and a tract of swampy ground. The effect is further heightened by
the many fine plantations so effectively placed in the vicinity of the lake.

The lake in the East Park, Wolverhampton (111. No. 260), which is some thirteen
acres in extent, illustrates the same principle, though in this case there was more spade

FIG. 260.

work, as various small hollows were united by cutting through intervening banks. It
also shows how a beautiful result may be obtained under the most unpromising conditions,
for it was formed from a series of spoil banks or pit mounds. The fact that there were
several old pits shafts on the site, necessitated that the whole area to be covered with
water should be treated with a layer of puddled clay, which in this instance was dug
from the site and put through a brick makers' pugging machine, and the surface
pitched with the blocks of clay as delivered from it.

The result of ignoring the natural contours and creating an artificial outline for the
lake was forcibly impressed upon the writer some time ago when consulted regarding
improvements to a lake upon which £3,000 had been expended with sad results. Instead
of flooding the whole of a valley, a long embankment was made to enclose about half
of it, with the result that the remaining half was rendered useless for anything but osier
growing and was rapidly becoming offensive, and this, at least, at five times the expense

195

THE DECORATIVE TREATMENT OF WATER.

which would have made a sheet of water of noble proportions. The hard undulating
line of the long embankment could never be softened off by suitable planting on account
of the depth of the ground level behind it as well as its sodden state.

It will thus be seen that a naturally treated lake formed on the slope of a hill or
anywhere but in the bottom of a hollow, where all natural lakes are found, can never
be anything but a dismal failure, and, in such a position, should never be attempted ; in
such circumstances a formal pond is the only kind .which can succeed. Nor is it a wise

policy to place an in-
formal sheet of water
within sight of a large
natural lake, a broad
river or the open sea.
The inevitable compari-
son cannot fail to be
odious and to the detri-
ment of the smaller
artificial sheet.

However carefully
the lake itself may be
formed and designed in
relation to its surround-
ings, the ultimate effect
must depend very largely
on the arrangement of
the foliage which is to
adorn its banks. The
old adage, " Plant the
hills and flood the
hollows " is always a safe
one to follow, and if the
hollows are deepened to
form bays and the ex-
cavated material is used
to add to the boldness
of the headlands and
so throw up the native
foliage with which they
should be crowned, the
best possible result will
usually be obtained.
The ideal to be aimed
at is clearly indicated
in the photographs of
the Brathay Craggs on Windermere, shown in illustrations Nos. 4 and 5, and though
it may not often be possible to achieve results on this scale, still the effect aimed
at should be the same. From these considerations we may form the general rule
that the headlands should be planted, and that in the bays the grass should slope
right down to the water in a natural manner, thus giving open vistas across the lake.
It should always be remembered, however, that too much foliage, especially if the supply
of fresh water to the lake is small, tends to foul it.

For the higher portions of the banks, masses of Scotch fir interspersed with silver

FIG. 26l. — ARTIFICIAL ROCKWORK AT BALLIMORE, ARGYLESHIRE.

196

THE DECORATIVE TREATMENT OF WATER.

birch may be planted with great effect, but for the lower portions, dogwood, broom,
mahonia, tree ivies, laburnum or holly, are most suitable, and in any case due regard
must be paid to colour in mass. For islands, masses of scarlet dogwood, willows and
cut-leaved alders are suggested. Additional interest may be given to the margins by
the tasteful disposition of groups of iris, lythrum, meadow-sweet, sedges, bulrushes or
other sub-aquatic plants, though if the water is shallow for any distance, the natural
tendency of such free-growing plants to cover the whole of the shallow area will need
severely curbing, or much of the water surface may be lost under the rampant
vegetation, especially in small ponds.

Additional interest and boldness may be given to the headlands by the formation
of artificial rockwork escarpments such as would naturally occur in such places, but, of
course, nothing in the slightest artificial in appearance should be intruded on the naturally
treated area.

Naturally-treated streams also form delightful adjuncts to the wild garden or the Streams.
outlying portions of the domain, in fact the former can hardly be said to be complete
without at least a tiny streamlet half concealed and half revealed among masses of
luxuriant native ferns.

How much can be done where a small stream is available is shown in the illustration
of that at Ballimore, Argyleshire (111. No. 261). Standing by the water or even looking
at the photograph, it is difficult to believe that, little more than a year before the

photograph was taken, it flowed through a hideous conduit between rough stone walls,

that the rockwork which looks so perfectly indigenous has all been placed there by the

hand of man, and the finely-laminated strata even moulded out of strong cement coloured

in exact imitation of the stone which forms

the larger masses of rock, or that the ferns

and other native plants which cover and

adorn the whole have been collected from the

surrounding woods and placed in position.

The other illustration of this class of

work (111. No. 262), showing the rocky stream

at Mount Stuart, Isle of Bute, which was

formed for the late Marquis of Bute under

the Author's supervision, originally flowed

through a hollow, trodden into disagreeable

mud by the feet of cattle, though there were

some small pieces of natural rock in places which

formed the basis of the work as illustrated.

The volume of the water had been increased by

the more efficient drainage of the higher ground

further up the stream, thus rendering some form

of protection for the banks necessary. In many

cases this would have been effected at the

expense of all natural beauty by clearing away

the trees and stubbing the undergrowth of

brambles, honeysuckle, gorse and broom, and

destroying every natural charm left after the

depredations of the cattle.

Instead of this, the opportunity was seized

to bare the natural strata of rock, form rocky pools, and heighten the little cascades

carrying the new strata by which this was achieved along the sides of the stream to

protect the banks, and planting the clayey bottom of the stiller pools with iris and

FIG. 262.

THE DECORATIVE TREATMENT OF WATER.

sedges. The banks on either side were already somewhat sparsely clothed with under-
growth under the beech trees shown in the photograph, and by the addition of many
native shrubs and bushes, they were given a covering of luxuriant growth.

Both here and in the stream at Ballimore the stone used was gathered from the
surrounding plantations, and where the surface was weathered or covered with moss,
this was carefully preserved, with the result that the work had not that aggressive new-
ness which usually spoils artificial rockwork until Nature has had time to reassert herself.
Fissures or " pockets " of earth were also purposely formed in the rockwork, in which
might be planted the ferns and wild perennials which abound on the estate.

It is wonderful what an effective stream can be made with only the tiniest flow of
water if it be properly treated. There are instances where quite a satisfactory effect has
been obtained where no stream at all originally existed, and the whole supply has been
collected by draining pasture land at a higher level than the gardens. The secret of
success is never to let the water trickle anywhere, but to arrange it in a series of large
pools with falls between. The smallest fall makes a brave show compared with the
same amount of water trickling or gliding over or among stones, and the pools suggest
a larger supply than may be actually present.

The practical detail of most importance in the formation of artificial rockwork, where
the natural stones are cemented together, or the finer strata are formed of artificial stone,
and especially where the pools are lined in cement to economise a small water supply,
is prevention from damage by frost. In such cases it is far the best method to place
the work in the hands of a professional rock builder whose past work has shown him to
possess the necessary artistic discrimination for his task, and who does not fall into the
very common error of overdoing the amount of rock.

The planting of rockwork is treated of in the next chapter, which deals with the
whole subject of rock gardens.

198

h-)

K
W

W
Q
K
<
O

M
o
O

ro
M

CHAPTER XIII.

The subject of this chapter is one to which whole volumes might be devoted, and The spirit
which, in fact, has a library of its own. Space, however, demands that we should dominating
condense into it those factors controlling the design and making of what is really, not informal
one kind of garden, but an entirely distinct series with many subdivisions and specialized gardening.
developments, each of which has its own requirements and methods of construction. It
will therefore only be possible to take up the three main divisions mentioned in the
title to the chapter, but in so doing we shall point the way more or less to the
making of every other form of garden in which wild growth, rock and water have a
place.

So far in our survey of the art of garden making, the mansion, as the paramount
architectural feature in the composition, has dominated everything, and, because the
garden is complementary to it, a more or less restrained and conventionalized aspect has
been given to its various parts that they should form one composite whole, the amount
of restraint or freedom in each parterre being nicely balanced in strict accordance with
its relation to the dominating feature.

Now, however, everything is changed. Success depends entirely on all absence of
restraint or conventionalization, and, instead of preserving an architectural continuity,
we have to subordinate everything to Nature and natural surroundings. Indeed our
garden, when finished, will only be successful in so far as we have achieved a generous
self-effacement and allowed Nature to reign supreme. Our whole task will consist in
giving her an opportunity to realize her highest and her best, a stage whereon to display
her greatest powers, and, where her works have been destroyed, a chance to reassert
herself. Wherever, in the finished result, artificiality is in the slightest degree apparent,
or features appropriate enough in themselves are arranged so as to be incongruous, or
so as to suggest a made-to-please effect, the whole will be spoiled, for Nature is never
obtrusive in her handiwork.

Nevertheless, we must not run to the opposite extreme and suppose that, in the
wild garden, we have the negation of art and only the result of a fortuitous chance, for,
as Pope so truly said :—

" All Nature is but art unknown to thee,
All chance, direction which thou canst not see."

and so we shall find as we proceed with our subject that, even where Nature already
holds sway, there are many things which we may do to help her to excel and enhance
the loveliness of all she touches.

There are, of course, scenes of such transcendent beauty and perfection that to

201

ROCK, WALL AND BOG GARDENS.

interfere would be the greatest presumption, as, for instance, in a case in the English
Lake District in which the writer was consulted, where a mountain torrent fell in a
succession of cataracts down a deep and precipitous gorge, the sides of which consisted
of cliffs of virgin rock clothed in a wild profusion of native ferns and other shade-loving
plants. In such cases, all that can be done is to conserve with jealous care that which
exists and guard it from the intrusion of artificially incompatible features or the
encroachment of commonplace utilitaria ; but such instances are rare indeed and, in the
vast majority of cases, Nature is not found at her best on the site of a new garden,
which is oftener reclaimed from agricultural uses, which, apart from the hedgerows, have
little in common with her.

Here much may be done to aid her work, and thus co-partnership with Nature at
her best must give to this form of garden-making a great and peculiar fascination for
those who love her and are filled with a sympathetic understanding of her excellences.
Prim parterres, set in smooth green lawns, balustraded terraces giving base and con-
tinuity to the architectural features, sculptured fountains throwing sparkling water from
basin to basin and water-lily tanks with unruffled surface mirroring the light of heaven,
we must have if our garden is to be complete ; but these alone can never satisfy the
all-round garden lover. He longs also for the free and the wild, for a seclusion where
flowers and plants may grow in rank luxuriance and riot, or where the mossy boulders
lie piled in romantic abandon, or combine to form a cool grotto overgrown with ferns,
or rich brown bog or bubbling spring lies all but concealed in the profuse growth it has
engendered. The spirit which filled John Gerard the Surgeon in the sixteenth century
with a love for the solace of the quiet country ways, and caused Gilbert White, a
hundred years ago, to write of the two rocky hollow lanes of Selborne which delight the
naturalist " with their various botany," still lives among us and is ever growing. The
chequered sunlight, filtering down through overarching foliage and covering the green
carpet with a scintillating filigree pattern deep down along the grassy way between tall
hedges of hazel and dogwood, whose supremacy is disputed by clambering tangles of
wild clematis, dog rose and sweetest-scented honeysuckle, of deep, dark mysterious shade
under over-hanging rocks or masses of fern or brake, must always make a strong appeal
to all who love a garden and who have learnt to understand something of Nature's
perfection and to love her free profusion.

Site of the From the very nature of the wild garden it follows that it will usually be placed either

m"* out of sight of the house or at some distance from it in order that there may be no

gar en. clashing between the natural and the artificial. In most instances, too, it will occupy a

secluded dell, especially where a bog garden or water in some form is a feature of its

decoration, or where ferns, mosses and lichens are to grow in rich profusion. In other

instances, it will occupy an open hillside, especially where it takes the form of an Alpine

garden, or again the necessity for protecting a steep bank by the side of a path may

suggest its treatment with rockwork or its conversion into a wall garden.

In several instances in the Author's practice, especially when called in to remodel
old gardens, he has found a natural stream flowing through the grounds which has been
built in between hideous walls or even enclosed in a culvert. A notable case of this
kind occurred in Pittencrieff Glen, at Dunfermline, presented to the city by Mr. Andrew
Carnegie, which was all the more remarkable as natural rock abounded in the bottom
and sides of the stream and required little more than uncovering and planting to make
a most charming feature. Another instance, already referred to, occurred at Ballimore, in
Argyleshire, and how much can be done in a very short time is shown in the illustration
(111. No. 261), from which it would be difficult to imagine that rather over a year
before the photograph was taken the stream ran between stone walls, and all the
romantically waterworn rocks have been planted so luxuriantly in that period of time.

202

ROCK, WALL AND BOG GARDENS.

The artificial rockwork seen in this illustration must not be confounded with the Artificial
ordinary rockery made by setting all sorts of stones unrestfully on end on a mound of rockwork.
earth. The latter is one of the least to be commended of the mid- Victorian garden
adjuncts, which, when made of white spar or some equally exotic-looking stone or even
broken crockery, cannot but have a most unsatisfactory and unaesthetic effect. The
only form of artificial rockwork which is to be commended or which can be permanently
satisfactory is that made by skilled workmen who have had a special training for the
work, and which is an exact reproduction of the indigenous virgin rock with all its strata
and lamime faithfully copied, and even this should be used with restraint and great
caution, for the tendency is almost always to over-do it and make it very obtrusive. The
same or an even better effect can often be obtained with one or two strata jutting
out of the soil which suggest hidden masses below than when great barriers of rock are

FIG. 265. — -ALPINE GARDEN ON THE SLATE ROCK OF THE LAKE DISTRICT.

constructed. Where too much is attempted, too, with the idea of getting the most for
the money expended, mere size is sometimes obtained at the expense of attention to
detail and balanced proportion. In such cases, it would have been far better to have
been content with less than to have built so much in a manner which cannot fail to look
artificial. Care should of course be taken that the material used does not clash with
the local geological character. Thus freestone rocks should not be built up in a chalk
district and vice-versa. In those few cases where there is any choice, it may be said
that ferns prefer limestone, while American woody shrubs will die on it, though they
will flourish on sandstone, which is the rock-builder's favourite material.

It may be objected that, after all, the rockwork is artificial, and therefore a sham,
and so cannot be pleasing to the truly artistically trained mind and eye. This is not
so, however, for, if a thing may be described as a sham, it must be an inferior substitute

203

ROCK, WALL AND BOG GARDENS.

Objections
to artificial
rockwork
considered.

Natural

rock

gardens.

Quarries.

Moisture-
retaining
hollows.

Bog
gardens.

for that which it copies, whereas artificial rockwork, if properly executed, is equal in
aesthetic value to native rock. Experience proves that this is the case, for, when one
knows that the bold masses of rock in the little dell or dingle have been placed there
by hand, its laminae produced by the use of a toothed tool and the gurgling spring over
which the ferns bend so lovingly is fed by hidden pipes, one's admiration for the picture
of Nature at her best which is put before us is not lessened, but, on the other hand,
one rather feels that sympathetic admiration for work which shows such artistic apprecia-
tion of Nature on the part of its creator which we experience in examining any other
work of art which is good and worthy the name.

This is the real test, which may be applied equally to any other form of garden
decoration. Does familiarity breed appreciation or contempt ? Where there is real
deception, as in the case of the sham ruins, churches, and other stage scenery which
were so extensively used a hundred years ago, immediately the fraud is discovered,
they cease to please and convey to the mind a sense of the ludicrous.

Nevertheless, however carefully it may be done, artificial rockwork can never be
quite as satisfactory as the original virgin rock. Where this can be obtained by the
removal of a few feet of soil, the best of all rock gardens may be produced at very
little expense, though even here, in some cases, it may need a little aid from the rock
builder in the way of providing for rough, rock-hewn steps and the provision of rocky
pools where the natural formation would not allow of these. In illustration No. 265 is
shown an Alpine garden which is most effective, and which has been constructed merely
by baring the natural slate-rock of the English Lake District.

He who in his domain possesses an old disused quarry is fortunate indeed. Here he
has the groundwork for a rock garden of most exceptional possibilities, especially if, as
so often happens, there is a pool of water in the bottom. The aim would then be to
have a tiny streamlet tumbling over the edge of the quarry into the pool below and, if
possible, at a point where there is a recess in the face of the rock, so that the combina-
tion of moisture and shade may encourage the growth of ferns and mosses. Rough
hewed steps will perhaps be possible winding up the face or one flank of the escarpment,
in which, case, favourable sites may possibly be found for every class of rock or water
plant, Alpines on the face of the rock, other plants in the fissures of the rough-hewn
steps, ferns in the hollows, flags, reeds and rushes in the shallow portions of the pool,
with water-lilies and other aquatic plants in the deeper parts, while, in a sunny position
on its margin, a small swamp garden may be contrived in which marsh marigolds,
bachelor's button, gunnera, saxifraga peltata, and the marsh-loving ranunculi may grow
to perfection.

Where no quarry exists, a moisture-retaining hollow may easily be contrived in a
suitable spot merely by lowering the level of the ground by excavation. There will be
very few gardens where, if this is done, an ideal site for a swamp pool will not be
obtained. Then, by the formation of rough steps, after the manner of those shown in
illustration No. 265, and the addition of a little rockwork, most charming effects may
be produced. This having been done, the rest is more or less a case of careful planting
and upkeep, though a good deal will depend on the nature of the material of which
the garden is formed. The true bog garden is, of course, composed of black bog earth
and peat, but often one has to be content with clay, or some other impermeable subsoil,
overlaid with leaf mould, or such material as may be available, and this will have a
direct influence in determining what we shall plant.

The great charm of the bog garden is its appearance of luxuriant, rampant, and
almost tropical growth and the brilliant greens of its foliage, ranging from long-stemmed
moss of almost pure lemon-yellow, down to the grey-greens of the iris, against which
brown reeds stand up in strong colour relief. It therefore follows that we must plant

204

ROCK, WALL AND BOG GARDENS.

nothing which will not do exceedingly well, especially that anything which appears in the
slightest degree hyper-cultivated or of the nature of a garden specimen plant will clash
with the general scheme. There should be a huge mass, the bigger the better, of either
the common English yellow flag or the German iris with its purple flower, which has
been naturalized in this country, and is now quite at home. Those persons who have
only seen this plant under the somewhat uncongenial conditions of the ordinary mixed
border can have no idea of the beauty of broad masses waving in the breeze. Another
consideration which makes for foliage effects in the bog garden is the large scale of the
leaves and rampant growth of most water-loving or aquatic plants. Gunnera, iris and
nymphese may be quoted as typical examples, and, in Nature, one never sees them mixed
up indiscriminately, so that, in the bog garden, each should be given a congenial place
in the scheme, and be kept well within bounds so as not to displace other kinds. It is
a great mistake, however, to try to plant too many sorts in one garden, unless it is
big enough to allow of certain varieties being placed where they cannot all be seen at
once. Reference to any of the illustrations in this work which show bog plants will
prove that the best effects are obtained by careful grouping of a few kinds which are
of a class to harmonize with their surroundings (111. Nos. 259 and 264) .

All such gardens but the very smallest will need the help of a background of such
moisture-loving trees as willows and alders. There are literally dozens of native or
naturalized varieties of the former which are all useful, and their catkins, which are the
very first harbingers of Spring, make them additionally welcome. Whether they shall
be pollarded or left to grow naturally will depend on circumstances, and especially
whether they are throwing too much shade over the whole garden. The aim should
be to have it so contrived that part is in shade, a portion in partial sun, and another
in full sun.

Where no stream of water exists, enough for the decoration of such an arrangement Streams.
may often be obtained from the overflow of a fountain placed in the more ornamental
portions of the grounds, or by draining pasture or other land at a higher level than the
garden, when a little dripping well or bubbling spring may be contrived, and the cool
sound of falling water be added to the other delights of the place.

We may, of course, be troubled with too much water. In such cases, to prevent
aquatic plants from being washed away, large deep pools should be constructed, in the
backwaters of which still places will be found wherein to arrange the vegetation. The
most difficult case of all is where the supply varies very much, being now a rushing
torrent and, at another time, almost drying up. This may necessitate the formation of
a weir connecting with a culvert, which may have its opening at such a level as auto-
matically to relieve the water garden of the surplus when the stream exceeds a given
flow. Needless to say, such an arrangement should be kept out of sight.

Grass, either shelving down into the water or ending in a broken bank on its margin
will form a part of all bog gardens. In one case, the wildness of the other portions
will demand that it shall be in rough tussocks with rushes growing out of it, while in
another, it should be the velvet carpet of the English meadow. In either case,
primroses, - cowslip, oxlip, bird's eye, snowdrop, violets, lilies-of-the-valley and, most
charming of all, the blue forget-me-not, will all be found congenial positions where they
may grow. The crocus, while it will grow well in grass, is a little too showy for
the wild garden, and is better kept for the lawns near the house. As a rule, a rich
peaty loam which retains the damp will give a rank grass, while a very light, almost
pure sand will sustain only dwarf close-growing sorts, which will not form tussocks.
That portion of the greensward which is close to the water, especially where there is a
more or less steep bank, should be turfed, not sown, and the turf pegged into the bank
by thrusting through it sharpened stakes about nine inches to a foot long, and three

205

Grottos.

Wall
gardens.

ROCK, WALL AND BOG GARDENS.

quarters of an inch to an inch in diameter. By the time these have rotted away, the
turf will be firmly established.

In certain cases, in order to obtain a proper gradient for a garden path, it may
need excavating several feet at one point. By making the excavation a little wider in
certain parts, we may arrange such a garden as that just described under the happiest
circumstances. In such schemes, little caves and -grottos are delightful when well arranged,
and provide an opportunity for the cultivation of many tiny ferns and beautiful mosses
and lichens which will not thrive elsewhere, except on the walls of old wells in country
districts. It is in these features, however, that failure to make the artificial rockwork
completely satisfactory is most often apparent. It is so difficult to avoid any suggestion
of a built-up arch or lintel over the opening, and to make the interior look as though
wrought out of the solid rock by the action of the elements, as in the case of a natural
cave. Limestone lends itself most naturally to this class of work, as it is in this rock

FIG. 266. — WALL GARDEN AT WOOD, DEVONSHIRE.

that nine-tenths of the larger natural caves are found. Sandstone does not usually
provide deep caves, and, in this material, deep, water-worn clefts overhung by a boldly-
projecting stratum look more in keeping than a regular cave-chamber. The grotto-work
of the Georgian garden, a little cave studded all over its interior surface with sea shells,
little mirrors or coloured glass is a childish affectation, and quite unsuited to the
wild garden. A naturally treated grotto of limestone, in a limestone district, with its
stalactites and dripping well, is not, of course, open to the same objection.

In other cases where excavation has been necessary, a wall garden may be the better
method, especially on a path subject to much traffic, or where there is no room to expand
it into a rocky glen. In this case, instead of artificial rockwork, the banks will be kept
back by walls of large boulders or rough-hewn stones, so built that plants may be

206

ROCK, WALL AND BOG GARDENS.

FIG. 267.

inserted in the interstices. Illustration No. 266 shows such a wall-garden. Its construc-
tion needs special care and thoroughness, as, by attention to the needs of the plants
with which it is to be graced, during the process of building, much better results can be
obtained. The varying habits of different plants will also need providing for. One may

have barely more than a surface hold of the
wall, while another will die unless its roots
can find their way deep into the bank at the
back of the stones, where there will always
be coolness and moisture, even in the hottest
weather. In building an ordinary wall, however
rough, everything is done to keep the interior
as dry as possible, but here we must aim at the
reverse, and invite rain to trickle into the spaces
between the stones. This is done by making the
outer surface of the wall slope back against the
bank which it supports, and the upper surfaces
of individual stones also to slope inwards, as in
the section given (111. No. 267).

The process of building such a wall will be
somewhat as follows : — The ground having been
excavated not only sufficiently to take the wall itself, but also a backing of garden
loam, a trench the depth of one course of stones is dug as a foundation. For this,
large flat stones will be used, and placed as evenly as possible and, on them, the upper
courses will be built. No one who has not tried will realize the difficulty of avoiding
any stiffness in the arrangement of the stones and the pockets of soil for the plants.
The builder must have the ultimate result, when the whole is completed and the plants
are fully grown, clearly outlined in his mind's eye, or not only will it be patchy, but
drooping varieties may be so placed as to hang over and choke smaller things, and
others which look best in large masses may not be given sufficient room.

The best way is to build the plants in as the wall proceeds, using good loam with a
little light manure, much as the mason would use mortar, except that a good mass must
be placed at the back of the wall between it and the clay, or whatever the local subsoil
consists of. The stones used should, of course, be indigenous to the district, or the whole
will have a very artificial appearance. As in every other form of planting, the great
key to success is to plant in masses and so avoid giving the wall an appearance of being
" stuck about " with a patchy assortment of little weedy plants. Such profuse-flowering
things as cerastium may be given two or three square yards of wall-space to cover almost
entirely, with the happiest results. Where the wall is fairly high, small things may fill
the crevices near the top, and below, such shrubs as Cotoneaster macrophilla, C.
Simmonsi, Clematis montana and others of the kind will grow at its base and climb
over it.

Another important point to remember in building the wall is to provide " throughs "
to bind it to the bank behind. These are extra long stones built into the wall so that
they may reach back into the bank and bind the former to it.

After the wall is completed, with its plants all built in as described, it will, of
course, be necessary to renew them from the surface, and also to provide for the annual
subjects. This is best done by rolling the seeds into a little ball of earth and inserting
them into the chinks between the stones.

Whether it skirts a wall garden or passes through a rocky dell, the pathway in this
class of garden should be roughly paved with flat stones of the same kind that is used
for the rest of the work. No attempt should be made to square these stones, but the

Crazy

paving.

207

ROCK, WALL AND BOG GARDENS.

Alpine
gardens.

FIG. 268. — STEPS IN THE WALL GARDEN.

best should be made of them in their rough state. The result will be what is sometimes
called " crazy " paving, and it will possess a large number of little cracks which will
accommodate small rock plants. The steps will be treated in the same way and, when
the whole is planted, they will add very much to the effect of the garden (111. No. 268) .

Usually, however, when paths and
steps are planted, sooner or later
the planting is overdone, and a
very untidy effect results. It should
never be lost sight of that they
are intended for walking upon, and
the planting should be kept quite
subsidiary to this first and greatest
requirement. This will best be
done by keeping the centre quite
clear and confining the planting
to the sides, corners and the risers
of the steps. The planted paving
is extremely useful in allowing of
the fuller use of annuals grown
from seed, as the seeds can be
scattered here so much more
successfully than on the face of a wall.

The real aesthetic difference between the wall garden and the rock garden is that
the first is confessedly an attempt to beautify a utilitarian feature as a wall must always
be, whether erected for the shelter it gives or to retain an earth bank, while the rockwork,
except for such adjuncts as stepping stones (111. No. 269), is copied from Nature
as faithfully as possible.

Where, as so often seems to be the case, this difference is not realized, and the wall
looks rather like an attempt to imitate a natural rock, or the rockwork is obviously built,
the whole result is spoiled and the work looks purile and affected.

There is again this difference, that the rock garden, with its direct portrayal of
Nature, demands that it be planted with shrubs, ferns and flowers that will appear
indigenous. Anything pronouncedly exotic will clash most forcibly with the general
sentiment of the whole scheme, such as yuccas, cacti or tropical grasses, though one
often sees the last of these in such positions, showing how little this is realized.

This consideration points to the real function of the slightly more conventionalized
wall garden. In planting it we are bound by no such limitations, and almost anything
may be used so long as there is not too great a mixture, for even here we shall
obtain a better effect by the exercise of a little care in selecting the plants so that,
while there is an avoidance of monotony on the one hand, we have not the appearance
of an untidy mixture on the other.

The one exception which I would make to this rule is when the whole of the rock
garden is given up to one particular class of plants, when the rockwork becomes by evident
and tacit consent merely the best available background for the class of shrubs to be
grown. Thus, in the case of the Alpine garden, it is impossible to ape the glories of
the Alps, and so reproduce the conditions under which these attractive little plants have
their natural habitat, and the rockwork forms the most suitable background available.
Still, the writer is inclined to think that the most successful Alpine gardens from the
point of view of collective effect are those in which the background consists either of
virgin rock, or a rough built wall which, being to hand in the first instance, have
obviously been adopted for that reason rather than a rock garden specially made for

208

ROCK, WALL AND BOG GARDENS.

their accommodation, which may invite invidious comparisons with the native sur-
roundings of the plants.

Generally speaking, however, the charm of the Alpine garden is in its details, in the
care and nurture of individual plants, and the study of the conditions under which they
thrive, for, notwithstanding all that has been said of the impossibility of reproducing
those conditions on the aesthetic side, on the imitation, as nearly as possible, of the soil
and aspect with which these plants favour, the whole effect will depend. This will involve
some knowledge of the geological distribution of the particular genus, for though most
of these little plants are fairly tolerant of unsuitable rock material, the best results can
never be obtained unless the grower understands which of them belong to the granite,
the limestone, and the sandstone formations.

Although those persons whose preferences lead them to look with favour only on
vivid masses of rampant colour such as we endeavour to obtain in the herbaceous
borders, will look with contempt on the Alpine garden, it is nevertheless one of the
most delightful as well as the most difficult branches of the horticulturalist's art, and
the very fact that it requires infinite patience and considerable study of the needs and
preferences of individual plants makes it particularly attractive to the person who loves
a garden. Of course the attempt to rear too many of the most delicate and difficult
varieties will spoil the general ap-
pearance entirely, and, while a few
may be attempted, the more robust
should predominate in order to
give the necessary effect of more
vigorous growth.

In constructing the Alpine
garden, the main thing is to re-
member that a light sandy soil on
a dry foundation is necessary.
Nevertheless, the soil must not be
too sparse, and behind the rocks
and stones, or between the crevices
of the virgin rock must be cool
depths of sandy loam if the plants
are to survive a hot summer. In
the case of an artificial garden, by
which is meant one not formed on
natural rocks, the soil should be excavated for a depth of about two feet throughout
the entire area, and the bottom be filled up with dry hard material, such as brickbats
and clinkers, to a depth of nine inches in order to give perfect drainage. If the area is
at all restricted this will best be done by overhand trenching, as described in the chapter
on kitchen gardens, and the soil should be well screened and the flints or stones placed
among the rough material. On this can be placed the rocks and soil, the latter enriched
with light manure if at all poor, and mixed with sand if heavy or clayey. The
finished garden may be of any extent, according to the space available and the amount
of money it is desired to spend on construction and upkeep. In any case, sufficient
of the roughly paved paths and steps to allow of every part being reached and examined
at close quarters will be necessary. The provision of a water supply is also of
importance, as the garden will need watering in hot weather.

There is, however, another form of wall garden besides that which has for its foun-
dation a specially-built wall of large blocks. In most old domains, and in nearly all
that are being re-formed from farmsteads, there are walls of the local building material,

FIG. 269. — STEPPING STONES IN THE ROCK GARDEN.

Old walls.

209

ROCK, WALL AND BOG GARDENS.

be it stone or brick, which are already most artistic, and need only the addition of a
few homely wall plants, such as stonecrop, roof flax, London pride, antirrhinum, wall-
flower, fumitory and roof leek to make them doubly so, especially if some of the
large free-growing cabbage roses can be trained over the coping. Such simple, old-
fashioned flowers seem to harmonize better with old walls which do not form a part of
the main gardens far better than the newer varieties ; but, even with them, care should
be taken not to overdo it, as old, weather-stained walls are beautiful in themselves, and
should not be so fully planted up as to hide their weather-beaten surfaces. Nor should
too many varieties be used. Old black slate walls in the English Lake District, which
are so beautiful as to attract the attention of -every visitor who sees them, usually only
boast two varieties of simple fern, and two or three of moss, and yet provide an object
lesson in the effectiveness of the simplest treatment, Nature pointing a way for us to
follow in our wall planting.

Where a brick or stone wall is being built specially for use as a wall garden, mortar
made with sand, not ashes, should be used and, of course, if there is any suspicion that
the sand is salt, it should be washed. To slope back the face of an independent wall
sufficiently to encourage the rain to soak in between the joints, as in building a retaining
wall, is not usually possible, and in this case the best way is to have projecting courses,
as shown in the accompanying sketch (111. No. 272). Where the coping is above the
eye from every point of view so that its upper surface cannot be seen, holes may be
made in it as shown in illustration No. 271, so that they may be filled with soil and
a larger range of plants may be placed there where their trailing branches will hang
over the wall.

Where the area of a garden is so restricted that it is impossible to devote any

part of it exclusively to rock plants, these
may still be grown very effectively by
arranging a boulder- built edging to retain
the piled up earth on an herbaceous border.
Not only does the raising of the border
give the flowers it contains more prominence
but it will tend to keep the plants growing
in the fissures between the boulders moist
and so a double advantage is gained.

Illustration No. 270 shows how this
may be done. As there can obviously be
no attempt at imitating natural rock, it
is built in two regular tiers, and in order
to prevent an appearance of a flight of
steps or a monotonous row of stones, large
" throughs " are introduced which also give

FIG. 270.

shelter to small and tender plants.
What to In deciding what to plant in our rock or wall gardens, we are confronted with un

plant. embarras de choix, for there is an enormous range of material upon which to draw.

The best way is for the beginner to start with a few of the common sorts which will
succeed well, and then take note of and add others as he comes across them if they
appeal to him and appear suitable to the position they are to occupy. Preference
should always be given to native varieties, and no better advice could be given than to
stroll through pastoral country and note the common harts-tongue fern for a moist
position, the three main varieties of tree fern for shade, the tall foxglove, the honey-
suckle, of which two kinds will be noticed, the harebell, the parsley fern, and many
others which thrive on walls and rocks, and use these in positions as like those in
which they are found in nature as possible.

210

ROCK, WALL AND BOG GARDENS.

FIG. 271.

Of course one great requirement to be fulfilled is a proper succession of effects
throughout the year, and the writer always feels that the rock garden is one of the
very best places for a Winter display. There are so many things, like Crataegus Lelandi,
Cotoneaster macrophilla, C. Simonsi, which love a rock or wall to trail over, and are
covered in the Winter with brightly coloured berries, which contrast strongly with their
dark olive-green leaves, which are evergreen. Then for flowers, we have the Christmas
rose, chimonanthus, the Winter jasmine and
others. The last of these is very useful indeed,
as it has bright green stems as well as
yellow flowers to give colour to the rock at
this dull time of the year. Then as the season
advances we should arrange for a fine show of
snowdrops, daffodils and other Spring bulbous
plants, which will come up year after year
without attention, and all the other Spring
flowers which are so charming in nature, such
as the primrose. The flowering currant (Ribes
sanguineum) is very useful too in very early
Spring, as it is of a larger size and a profuse

bloomer, and the hedge mustard, of which the two or three commonest varieties are
all worth planting, should be included. Thus the garden may be attractive at the
dullest periods of the year, and until the regular Summer season commences, to be
followed by the autumn-flowering species.

Plants for special positions will also be needed. Thus the foxglove is very useful
on the soil at the foot of a wall on its North and shaded side, as is also the roumelia
(Haberlea Ramondia) where not too damp, or the giant parsley, the rosette mullein

(Ramondia pyrenaica), a pretty little Alpine
plant which may be grown from seed, and, of
course, nearly all kinds of ferns will be useful
in such a position. These last will also be em-
ployed in any damp situation on the rock work,
while, under the opposite conditions, on or in
the crevices of a hot dry wall, wallflowers,
Campanula pyramidalis (a form of Canterbury
bell), and the sunrose (Helianthus), with masses
of rambler and Dorothy Perkins roses, with
such things as roof leek and London pride
will make a good groundwork for filling in
from time to time.

Nearly every nurseryman's catalogue con-
tains a list of plants specially chosen for
their suitability for the bog garden, and, if
the advice previously given is borne in mind,
to plant only a few native or thoroughly
naturalized varieties in large masses, the result
cannot but be pleasing. A suitable selection

for most positions could be made of those things, such as gunnera and flags, which
have already been mentioned, with a few others to give added colour, such as the
large double marsh marigold (Caltha palustris monstrosa fl. pi.), three or four varieties
of orange globe (Trollius), and others of a similar kind.

It is with the greatest regret that the Author is compelled, by the exigencies of

FIG. 272. — WALL WITH PROJECTING COURSES TO
INVITE RAIN TO ENTER.

211

ROCK, WALL AND BOG GARDENS.

Specialized space, to turn from this delightful subject without saying something of all those specialized

wild branches of wild gardening which are of such absorbing interest. The Alpine garden has

gardens. been mentioned, but there are many others, such as the iris garden, the spring bulb

garden, which is usually a woodland glade the grass of which is studded with all sorts

of spring flowers, as in illustration No. 273, the fernery, the little garden devoted to

FIG. 273. — WILD GARDEN, FOOTS CRAY PLACE, KENT.

insectivorous plants, the bamboo garden, and so on. The work of designing all these
and many others is, however, very similar to those discussed, and it is hoped that a
perusal of this chapter will enable the garden designer to grasp the principle underlying
the arrangement of any of them.

212

FIG. 274 —CONSERVATORY, WEST PARK, WOI.VERHAMPTON.

FIG. 275. — CONSERVATORY AT " THE HILL," HAMPSTEAD.

CHAPTER XIV.

There is perhaps no detail of domestic architecture which calls for so much care
in its design and proportions as a conservatory. Whether it is attached immediately
to the residence or is placed separately and reached by a glass corridor, it is a feature
which may, in the hands of a capable architect, be a delight to the eye as well as
forming a most useful and pleasant adjunct to the mansion. Yet, if one may be allowed
to judge from the conservatories usually erected, even in conjunction with architecture of
real merit, it would seem that few people realize that intelligent design can be applied to
such structures, and that the only means of rendering them presentable does not consist
in the mistaken application of spidery cast-iron ridging and crudely assorted panes of
coloured glass. All that is necessary to prove the contrary is to compare such build- Stock
ings with the delightful orangeries and conservatories attached to some of the larger designs.
Georgian mansions, such as the conservatory at Belton House, Grantham, with its severely
plain but exquisitely balanced treatment, or the more elaborately detailed one at Ven
House, Milborne Port, Somersetshire, either of which would provide the designer of the
modern structures with a much needed object-lesson. Compare these with the photo-
graphs in the horticultural builders' catalogues from which unfortunately the modern
examples are evolved. It would never seem to have struck the prospective builders
that it is just as necessary that the conservatory should be designed by a competent
garden architect who understands both the aesthetic and practical requirements, as that
a domestic architect should be retained for the mansion, or a specialist in any other
branch of design, and instead, they have chosen one, two or three specimens, from the
catalogue as the case may be, according to the amount of accommodation required.

So long as the selection of stock designs is confined to the provision of propagating
and growing houses, which can be kept more or less out of sight and from which the '

plants are removed to the conservatory when blooming, this short-sighted method may
not result in much harm, provided that the materials and workmanship are good, but,
when intended as an adjunct to the house or pleasure grounds, and especially when
viewed in conjunction with the former, it is necessary that position, planning, grouping,
and details should all receive consideration. It is above all things necessary that the
treatment of a glasshouse should be distinctly architectural without heaviness.

The use to which the conservatory is to be put is of course the first and most Planning
important factor in determining its planning. In most circumstances, a pleasant " with- the con-
drawing " room is required where, at all periods of the year, the users may enjoy the servatory.
sunshine amid fresh flowers and foliage, when it will have to be planned so that it has
convenient access to the entertaining rooms. In other cases, where immediate connection
with the mansion is not essential, and more light and air are required than can be obtained
when one side is against the house, it is often found advisable to place the conservatory

215

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

a short distance away from the main block and to connect the two by means of a glazed
corridor or colonnaded loggia, which in itself may be made a delightful feature within
by roses or other plants grown over trellis, and may from without provide a necessary
screen from different portions of the grounds, and so fulfil a double purpose. Where
it helps to enclose a cloistered or other secluded garden on its sheltered side, it may
be open towards it and thus provide the opportunity for a very charming arrangement of
arches overlooking the pleasaunce, or some similar treatment.

The conservatory attached to a palatial residence must, of course, be a very differ-
ent structure to one which is attached to a brick suburban villa. In the former, stone
entablature and pillars may be necessary, while for the latter a much lighter erection
might be suitable provided that the cornice and moldings are correctly designed, and
they and the spaces between the glass rails are well proportioned.

LOGGIA AMD JWNIN& COVVIT :

AN ORANGERY, WITH LOGGIA & DINING COWT

FIG. 276.

If the conservatory is to be considered as an additional apartment of the house in
which bright and beautiful flowers are to be merely displayed and not grown, then the
greater part of the floor space may be reserved for chairs and tables, with perhaps a
wall fountain and one or two sculptured figures, the greenery being so arranged as to give
it the character of a quiet retreat. In such circumstances the proportions of solid stone
or brickwork and wood to the area of glass can be considerably increased, but where,
on the other hand, it is not only to be used for showing plants grown in the greenhouses
but also for the growth of roses and flowering climbers, then the proportion of glass
to solid spaces must be as great as possible. Large sheets of plate glass should, how-
ever, be avoided, for they, aesthetically speaking, make blank holes in the walls, while if

216

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES,

broken, they are very expensive to replace. A conservatory on the South-east
or South-west of a house which stands conspicuously on a hillside and which
contains large panes of plate glass, has a hard and glaring effect and suggests a huge
mirror, especially if there are no trees near to give partial shade and break the hard lines
of the angles. It will always harmonize better with the residence if the sides and end
are glazed with comparatively small panes of strong sheet glass, nicely proportioned,
which, not being highly polished or perfectly flat, reflect the light at varying angles.

In illustrations Nos. 276, 274, 275 and 277 are shown four conservatories of varying Examples
degrees of importance, all occupying positions in which it was necessary that they should of conserva-
attain an architectural expression. The first was planned for a residence in Lancashire, but tones of

unfortunately as carried out has undergone many alterations. It was to have formed an vanous

S'izes
extension to a large open- loggia used as an open-air dining room and to be so treated

as to give a necessary covered approach to the enclosed garden beyond. It was
intended to be used as a Winter Garden, or Orangery, with ample floor space for chairs,
and, while the roof was to be arranged as simply as possible to obtain the maximum
amount of light, it was necessary to design the front in harmony with the mansion, for
which purpose the stone arches and open verandah shown in the illustration were suggested.

The second illustration shows a conservatory erected in the West Park, Wolverhampton.
The design is adapted from that of the old English orangery and would form a very
suitable structure to place at one end of a flower garden where architectural expression is
desirable.

'•-:mm^

FIG. 277. — CONSERVATORY WITH GREENHOUSE — CORRIDOR CONNECTING WITH HOUSE.

The third of these is shown in illustration No. 275, and was erected at " The Hill,"
Hampstead, for Sir William Lever, Bart. It not only closed the well-marked main axial line
through the grounds, and at right angles to the main garden front of the house, and on
which the water-lily pond and terrace steps are placed, but also, together with the green-
houses on either side, gave privacy to the grounds, which were previously overlooked at
that point from a knoll forming part of Hampstead Heath. As will be seen from the
illustration, the ornament has been carefully concentrated on the main gable and the
rest kept severely plain to give contrast and throw it into relief, and great care has been
exercised in both the general proportions and the spacing and arrangement of the glass
rails and other details.

The fourth illustration (No. 277), shows a small conservatory designed to hide unsightly
back buildings, and which occupies a convenient position on one side of the carriage
circle. There is only one small supplementary plant house for keeping it supplied with
flowering plants, consequently it has been arranged as a fernery with the ferns planted
in the crevices of limestone rock arranged naturally against the back wall and around
the sides. As will be seen it has a greenhouse corridor connecting it with the drawing-
room, thus forming a convenient and desirable promenade under glass, and giving the
conservatory an appearance of greater size.

217

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

FIG. 278.

The con- Incidental reference has been made in other chapters to the furnishing of conservatories.

servatory Very much will depend, of course, on the use to which they are to be put, and the
floor. taste of the users, but the following remarks are of more or less general application.

The most common mistake is to pave them with many coloured tiles in a startling
and obtrusive star or check pattern, instead of subordinating the whole of the interior
treatment to the flowers, which should obviously and confessedly form the centralizing
interest. In the case of all but the most elaborate conservatories, a dull red or buff-coloured
tile free from any suspicion of shiny glaze, which will form a soft and pleasing contrast
to the dark green foliage characteristic of hot-house plants, is most useful and may be
in the form of either " quarries " six inches square, laid either square or diagonally, or
tiles six inches by two inches laid in the " herring bone " pattern so often used for wood
block flooring. In either case a little relief may be given by a narrow margin of darker
brown-coloured tiles six or nine inches from the wall.

When an important conservatory is attached to a classic mansion, in which case a
large amount of open floor space would probably be required, the pavement may be laid
with marble either in squares of one or alternating colours, or lozenges and
diamonds, as in the sketch (111. No. 278), which is not such a costly
process as might be supposed. For somewhat smaller structures a pleasing
floor may also be obtained by using sawn limestone in conjunction with
green slate, blue and green slate or red and yellow sandstones, the effect
of the last on a large scale may be judged from an inspection of the
pavement on the terrace in front of the National Gallery, Trafalgar Square,
London.

Blank walls Probably the majority of conservatories possess a certain amount of interior blank

in conserva- wall, and unless the proportion of this is so great as seriously to interfere with the
lories. lighting, it may be regarded rather as an asset than otherwise, for it allows of much

individuality of treatment and delightful results. Where from four to six feet of space
in front of it can be spared for a soil bed, naturally treated artificial rockwork, such as
that described in Chapter XIII., may be employed with charming results, though there
is a distinct danger of pettiness and over-elaboration in treatment to be guarded against,
due to the effort to make the very most of an exceedingly limited space. In large
schemes of this kind, a dripping well for ferns with pools for gold fish may be added,
but to attempt this on a very small scale is apt to result in an effect which suggests
nothing so much as a leaky pipe and a damp place.

Treillage The graceful treillage which has been brought to such a pitch of elaboration by

in the con- French artists is, in its simpler forms, eminently adapted to the interior ornamentation

servatory. Of conservatories. It may be treated either as a form of wall decoration in itself or

may provide a support for the slighter exotic climbing plants, or screens to break up the

interior space into two or more compartments may be constructed of it. Owing to

its somewhat delicate construction it should not be used where there is danger of its

being damaged. In any case it should be designed specially to meet the requirements

of each individual case. Where treillage is too elaborate or too fragile, simple forms of

ornamental trellis, designed after the style of that used in connection with so many Queen

Anne or early-Georgian houses, may be used with great effect.

Of the smaller furnishings, chairs, tables and what not, it is only necessary to say
that they should be light and portable, and of a nature to withstand the humid atmo-
sphere of a glasshouse and, as in the case of the paving, quiet and harmonious in
colouring.

In most gardens, even if there is no conservatory to be kept supplied with a succes-
sion of flowering exotics, a range of glasshouses, large or small, is usually considered
necessary. This is particularly so when the domain is situated at some distance from

218

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

a market and so the fruiterer and florist cannot be visited without considerable trouble ;
but even when this incentive is absent, there is the delight of rearing one's own fruit
and flowers, which are not only fresher than those which have been bought, but, in
the case of fruits, retain the beautiful bloom which is inevitably destroyed if it is
necessary for them to be packed and to travel.

As a rule, the planning and
arrangement of a series of glasshouses
are left more or less to chance and
expediency, the various houses being
placed anywhere conveniently ac-
cessible where the necessary open
aspect can be obtained, or a wall
exists to place the lean-to houses
against. How much is lost by this
lack of forethought, even in quite
small and simple ranges, will be at
once evident on referring to the
photographs of such ranges in
illustrations Nos. 280 and 281. Even
where there is only one simple lean-
to house, it may be given significance
as part of a well-thought-out scheme
by placing it centrally across the
end of the main walk, across the
middle of the kitchen garden, and
having a door under a small gable
to come opposite the walk. In
larger schemes, the main span-roofed
house would usually come end-on in
the same position with the less im-
portant houses arranged symmetrically
on either side, as in illustration No.
275, though in many instances, such
as that shown in illustration No.
280, an absolutely symmetrical
arrangement cannot be obtained on
account of local conditions, which
demand individual treatment ; such
enforced variations, if intelligently
dealt with, always result in added
charm and a pleasing individuality.

One of the most important considerations in the planning of a range of glasshouses
is the placing of the potting shed and heating chamber. As the latter must be sunk deep
enough below the floor level of the glasshouses to allow the top of the boiler to be lower
than any part of the radiating pipes, it is usually a good and economical arrangement
to allow it to form a basement story to the former.* This arrangement is shown in a
majority of the designs illustrated in this work, and where the range is symmetrically
planned, the potting shed and heating chamber should come immediately behind the main
centre house with a door between it and the former giving direct communication.

* The floor of the heating chamber should also be low enough to allow of a large bucket being placed under the
draw-off cock, which is fixed at the lowest part of the boiler. This is a point which is often neglected.

1. PORCH.

2. LIVING ROOM.

3. PARLOUR.

4. SCULLERY.

5. STAIRS.

6. YARD.

7. COKE STORE.

8. COMPOST BINS.
Q. STOVE HOUSE.

FIG. 279.

10. GREENHOUSE.

11. GARDEN FRAMES.

12. KOOT AND SEED

STORE.

13. FRUIT STORE.

14. OPEN SHED.

i;. POTTING SHED
WITH HEATING
CHAMBER UNDER.

1 6. LATE VINERY.

17. EARLY VINERY.

1 8. CONSERVATORY.

19. EARLY PEACH

HOUSE.

20. LATE PEACH

HOUSE.

21. DIPPING WELL.

22. VEGETABLE BEDS

The plan-
ning of a
range of
glasshouses.

219

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

Such an arrangement is not only economical in first cost but has several great
advantages from the gardener's point of view. Three-quarters of his work will centre
round the potting shed and heating chamber, so that to have these one over the other
is very convenient, and the door between the former and the glasshouses will allow him
to remove plants from one to the other without exposure to the weather. No fumes
from the heating chamber will reach the glasshouse by this door, for the former will
be approached by an outside staircase and not have any direct communication with the
potting shed. All that is necessary is that the staircase to the heating chamber shall
be conveniently placed in relation to a door from the potting shed, communicating with
the space at the rear of the range. Again, such an arrangement allows of a very
convenient planning of the hot-water pipes. In the first place it renders the construction
of culverts through which to carry the pipes from the boiler to the range, or from one
house to another, quite unnecessary, and this is always to be avoided as, however care-
fully the pipes are swathed in heat-conserving material, there is always more or less
loss, varying with the length of the culvert and other conditions such as the material
with which the pipes are packed and the possibility of keeping it dry. Again a further
advantage lies in the fact that, in such an arrangement, the hot water pipes will go
right and left from the boiler in two separate circulatory systems, so that during those
portions of the year when few houses will need heat, it is possible entirely to cut off
half the pipes at a main valve, and heat the rest with a small and economical fire. It
also allows of the houses which require most heat being placed nearer the centre of the
range, and consequently nearer the boiler than those which require less. Thus the early
vinery might come first with the late vinery beyond and the early and late peach-houses
after them in the same order, as the last of these would require very little or no heat-
ing. The stove house would, of course, come nearest of all, as it requires the fiercest
heat.

Where the plan of a range is necessarily L shaped as in illustration No. 298, a
good place to put the potting shed is in the angle, as otherwise there is necessarily a
small square house at this point which, being shut in on all sides, is suitable only for
a fernery and, unless this class of house is wanted, as in the instance shown, the space
is more or less wasted.

Hot water jn ^e now amiost universally adopted low-pressure hot-water system of heating,

the hot water from the boiler is caused to circulate through the pipes by utilizing the
natural law which ordains that, if one part of the water in the system is hotter than
another, it will rise to the top. Thus the water is heated in the boiler and finds its
way into the pipe known as the " main flow," which starts from the top of the boiler
and, rising as it goes, gradually travels to the highest and most distant point in the
system. Being cooled as it goes, it then returns to the boiler by means of the " main
return," which joins the latter at the bottom. It thus follows that, to ensure good
results, the rise in the pipes from the boiler to the extremity of the system, should be
continuous and even. To make this possible, the main pipes are usually placed in a
trench under the glasshouse floor, as otherwise they would come across the doorways,
and could not be run through even the shortest trench between the main block and an
outlying house or hot frame. The radiating pipes are then connected to the mains at
convenient points and furnished with screw-down valves. There are two means of
doing this known respectively as connection " in series " and " in parallel." In the
former case both ends of the branch are connected to the same main, with a stop-
cock on the main between the two connections, while in the latter, which is by far the
better way for horticultural work, the flow of the radiating system is taken from the
main flow, and the return pipe to the main return. The former method, which is
more suited to the heating of domestic buildings, is sometimes advocated for horticultural

220

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

work on the ground that the radiating pipes nearest the boiler will, if connected in
parallel, monopolize most of the heat; but this is easily remedied by a little adjustment
of the screw-down valves. In any case, the mains should always be run under the
houses and not outside in culverts, as then any escape of heat is utilized and simply
supplements the action of the radiating pipes.

The amount of piping which is required in each house will of course depend on the
use to which it is put, but the situation, whether exposed or sheltered, is also a con-
trolling factor. For general use, however, the following Table, extracted from " Fowkes
on Heating," will be found reliable I—-
Per 1,000 feet of cubic contents.

Greenhouses and conservatories . . . . . . 35 to 40 feet of 4-inch pipe.

Vineries 45 to 50

Plant stores . . . . . . . . . . .. 55 to 65

Forcing houses . . . . . . . . . . .. 60 to 70

Peach houses .. .. .. .. .. -.30 feet

For heating anything up to 3,000 feet of four-inch piping, I have found no better Boilers.
boiler than the old " Chatsworth," but sectional boilers of the " Ideal " type are growing
in favour, as they can be ^used equally well on the smallest or largest installation, and
also because, in case of accident, the injured section can be so easily replaced. They
are self-contained and require no brickwork, but the cost of either is about the same,
as what is saved in brickwork is spent on the more costly boiler. There is a distinct
advantage in having the firebars in the form of tubes through which the water circulates,
as the fire can be damped down in the evening, and will smoulder with a red heart next
to the water bars, and the water is therefore kept hot without attention until the
following morning. The water-cooled bars also do not deteriorate or need constant renewal
like the old-fashioned firebars, which never last very long.

Whatever boiler is adopted, however, it should be of ample size and power for the
work it has to do, as it is far more economical to fire a large boiler slowly than to
produce the same heat in the pipes by fiercely stoking a smaller apparatus. Under
ordinary circumstances the writer usually advises that a boiler guaranteed to heat one
third more piping than the maximum load it is to be subjected to should be adopted.
At some time or other, also, one of the houses may be put to a new use and require
more piping, which can be added very cheaply if no alterations to the boiler are necessary.

In large installations, it is always an advantage to fix two smaller rather than one
large boiler. Not only does this prevent disaster should one boiler be under repair
in severe weather, but in those seasons when little heat is required, only one boiler need
be fired and thus a working economy is effected. The arrangement of one main flow
and two returns is quite good practice and is often done, but a greater number of flows
than returns would, on the other hand, be wrong.

From what has been said, it will be abundantly evident that the two problems of
planning and heating a range of glasshouses are interdependent at every turn, and nothing
can be arranged with regard to the one without having a direct influence on the other, and
that, by the exercise of care and forethought in these two departments, great economies can
be effected not only in the initial expenditure but still more in the working and upkeep.

There is yet another point bearing on the same subject and that is the design and
practical requirements of the various classes of houses required for different purposes.
Sections of glasshouses showing the various forms are given in illustrations Nos. 282 to
287 inclusive, but it should be explained that the constructional details, such as roof
trusses and spandrils, which show so conspicuously on the sections, do not attain the same
prominence when the house is seen from the ordinary point of view.

Design of

growing

houses.

221

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

FIG. 280. — HERBACEOUS BORDERS AND RANGE OF GLASS, WYCH CROSS, SUSSEX

FIG. 28l. — SMALL RANGE OF GLASSHOUSES AT LEWISTON MANOR.

222

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

Whatever the form of the house, however, it is important that it should not be
made higher than is necessary, so as to limit the cubical area to be heated. It is
admitted by the most capable gardeners that glasshouses are usually built more loftily
than is necessary, in some instances so much so as to make successful plant growing
impossible. Probably the best growers in this country are those who supply Covent
Garden Market, whose plant and fruit houses are much lower than those usually met
with in private establishments.

Another important point is the pitch of the roof. The use to which the house is
to be put will largely determine this, but, where there is much choice, four other factors
should be considered. The first of these is, that the natter the pitch is, the more evenly
the heat will be distributed, while, if it is steep, all the hot air will accumulate near the

LEAN TO VINERY

FIG. 282.

LEAN TO PEACH-HOUSE

FIG. 283.

VittCRY WITH BACK LICHT

FIG. 284.

apex, and thus a flat pitch tends to sturdy growth. Again, a low pitch allows of all
the plants being brought very near to the glass, and this also is very desirable if they
are not to run away in long bare stalks. A third consideration is that by making the
roof steeper, drip, that is the dropping of condensed water vapour from the roof on to
the plants, is avoided ; while the fourth and most important consideration of all is to find
a pitch which will admit the most light. This means that the slope of the roof must
be about at right angles to the direction in which the rays of the sun will strike it
at the time of the year when sunlight is most precious, that is, in the Winter months.
At the worst period of all, the sun's altitude is only fifteen degrees, which would of
course involve an impossibly steep roof ; but extreme steepness is not of so much moment
as might be supposed, for if the sun's rays strike the glass as much as thirty degrees

FIG. 285.

FIG. 286.

FIG. 287.

out of the perpendicular, the loss in efficiency is only 2\ per cent. These various
factors, if considered independently, would result in very different slopes, and it is there-
fore a case for compromise and adjustment. This process coupled with experience has
resulted in most span houses, such as those shown in illustrations Nos. 285, 286 and 287,
being constructed with a pitch of twenty-six degrees from the horizontal, which gives a
rise of six inches in every foot of breadth, while the lean-to houses, such as those shown in
illustrations Nos. 282, 283 and 284, are made with from this span upwards according to
the use to which they are to be put, peach houses often having a very steep pitch indeed
Gables over doorways, the principal plant houses in a range having the gable end
towards the spectator as he views1 the range as a whole (111. No. 280), and conservatories,

223

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

Lean-to
houses.

Three-
quarter
span
houses.

Span-
roofed
houses.

usually have their roofs square pitched, i.e., sloping at an angle of forty-five degrees to
the horizontal. Needless to say, under all ordinary circumstances, the whole of the lean-to
houses in a continuous range should, if possible, be made with roofs of one pitch.

A feature common to all classes of glasshouse is the substructure of wood, stone or
brick, on which the glass structure stands. This may vary from a dwarf wall only a
foot high from the ground level in the case of steep-pitched peach houses, to one three
feet six inches or even four feet high. Of the three materials mentioned, brick is by
far the best if built in good strong mortar, as it gives a wall of a convenient thickness
which is heat retaining and has a surface which can easily be kept clean. Most stone
walls become dirty and encourage insect pests, some friable sandstones, such as that
used so extensively in South Yorkshire, being particularly bad, while wooden substruc-
tures should never be used unless it is absolutely necessary that the greenhouse should
be so constructed as to form a tenant's fixture, as such walls allow heat to escape
rapidly, need constant repainting, and are liable to rot away at the ground level.

The simplest form of glasshouse possible, as distinct from frames and pits, is the
lean-to house, in which the roof rises directly from the wall in front without any glazed
front, or " front lights " as they are called. Such houses used to be common for
plant stores or vineries, but very few are being erected nowadays, and, under ordinary
circumstances, the writer would never advise their adoption as the extra cost of a glass
front is always so small compared with the vast improvement it makes in the house both
practically and in appearance. There is, however, a form of peach cover or late peach
house which is very similar in appearance to a lean-to house without front lights, and
which may be erected with advantage in the South of England where the summer days
are hottest. In such houses the roof consists of a series of loose glazed frames each
long enough to form a complete cover for a section of the roof from eaves to apex,
and which can be removed at pleasure, leaving the whole of the interior, with its fruit
bushes, open to the hot sun and air of a sultry Summer day.

Illustrations Nos. 282 and 283 show sections through the better sort of lean-to houses,
the dotted lines indicating how the ventilators in the front and top open, thus providing
through ventilation. This provision of both inlet and exit ventilators is an important
point and must be so contrived that the cold air entering comes into contact with the
radiating pipes before it reaches the foliage or fruit. All the sections given illustrate
how this is done, the small circles representing radiating pipes seen in section and so
placed as to meet the incoming air.

Illustration No. 284 shows what is practically a variation of the ordinary lean-to
house, known as a " three-quarter span house." It has the practical advantage of
allowing of ventilators on each side of the ridge so that, whichever way the wind is
blowing, one or the other will be sheltered from it, and also gives the range of glass a
better appearance by allowing of a broad house which is not so much higher than the
lean-to houses on either side as to spoil their appearance, and at the same time, does
not necessitate such an exceptionally high back wall as a lean-to house would.

The remaining usual form of glasshouse is the span-roofed house, which is shown in
section in illustrations Nos. 285, 286 and 287. For market gardening purposes the}^ are
often built without front lights in the manner described for the simplest form of lean-to
house, but in a garden this is hardly ever done, as it would prevent the flowers being
seen from without the house, which is always desirable. As will be seen from the
illustrations they have ventilators in both side walls and both sides of the ridge, but the
piping is not, in the instances shown, carried so as to intercept the air coming through the
former as in the case of the lean-to houses already described, as they would then be very
much in the way. Instead of this, they are placed under the staging close to box
ventilators in the brick substructure. These box ventilators are openings in the wall

224

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

usually about eighteen inches long by nine inches deep, fitted with a hinged lid or shutter
which can be partly or widely opened according to the amount of fresh air desired. In
the forcing house (111. No. 287) even this arrangement is not possible.

Besides these main distinctions in the design of the three chief forms of glasshouses, Internal
there are sundry others, which are adapted by their internal fittings to various fittings.
uses. In the case of vineries, the front wall of the substructure is very often
built in the form of arches just below the ground level and resting on piers so that
the roots of the vines may have room to grow outwards as well as inwards, as shown
on illustrations Nos. 282 and 284. Many gardeners object to this arrangement on the
score that it is a wrong principle which entails having part of the roots of the same
plant growing in a hot house and part in the open, but they forget that the transition
from hot to cold in a thick bank of soil and compost will be very gradual, and may
in fact be almost prevented by arranging heating pipes at the bottom of the bed, as
shown in the sections just referred to.

The vines themselves are trained over wires strained parallel to the under side of
the roof and about nine inches from it. These wires are sometimes placed so as to run from
the apex to the eaves and sometimes horizontally. The latter is far the best way as
it allows each vine to be tied to a number of them so that, in case one breaks, the
vine is held by the others while it is replaced.

The peach house is fitted with a wire trellis with galvanized iron framing, which
is usually curved, as shown by the double line on illustration No. 283, and rests on brick
pillars passing through the soil bed inside the house.

A section through a stove house is given in illustration No! 287, which shows the
arrangement of pipes under the bed which is contained in a kind of trough with brick
sides and a slate bottom.

Other houses usually require staging, which may be of slate, wood or iron. Iron Staging.
staging is formed by placing narrow corrugated iron on an L-iron framing, which
is supported on iron legs, of which the neatest kind which the Author has yet seen is
that shown in illustration No. 288. The corrugated iron used has narrow corrugations
and is a very neat material, not to be confounded with that of which cheap buildings are

constructed. It is usually covered
chippings, which, however, do not look
Slate staging is much the same
corrugated iron. For most purposes
as it tends to counteract the effect of
remaining form of staging, and pro-
of wood battens about three inches
apart, on a wooden framework and
by two inches material. It is not
ceding forms, but is a little cheaper
people. It lends itself particularly to

FIG. 2

with fine, even pebbles, or by spar
so well.

thing with slates used instead of the
this makes the best possible staging
sudden changes of temperature. The
bably the most usual of all, is formed
broad and one inch thick and an inch
supports made out of three inches
practically so good as the two pre-
and its appearance is preferred by some

the arrangement of plants in tiers in
the centre of a plant house or conservatory, or against the back wall of a lean-to
house. It can also be more easily constructed so as to be removable, in order to
allow chrysanthemums or other large plants to be displayed on the floor.

The height of staging placed against the front wall of a glasshouse should preferably
not exceed twenty-seven inches, and the plants will look better from the outside of the
house if its surface is nine inches below the bottom edge of the glass, so that the pots
are hidden. Staging in the middle of a plant house or conservatory is often used for
tree ferns, palms, camellias, or large plants growing in heavy pots or tubs, and must
therefore be strong ; a good staging for such plants is formed of sawn flag tabling
resting on stone or brick piers.

225

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

Paving.

Soil beds.

Opening
gear.

Pits and
frames.

Design of

potting

shed.

Heating
chamber.

The best pavement for almost any glasshouse is formed of Yorkshire flags, " quarries "
or red tiles already advocated for conservatories. Brick on edge laid in cement or sand
can also be used where really hard and virtreous stocks of a nice warm colour can be
obtained. Cement floors or wood gratings are apt to get rather mossy and slippery.

In a large plant house or conservatory, soil beds are often formed in the centre of
the paving. These beds should be edged preferably with stone edging like that shown in
illustration No. 306 for outside flower beds, but bricks or terra cotta moulded to a
simple pattern may be used. Whatever the material adopted the moulding should be
simple and unobtrusive and sufficiently high to retain the soil some four or six inches
above the floor level, well fixed in position by cement or dowels on a concrete or brick
foundation. Where required, the kerb may be of a pattern into which the standards
for the staging may be fixed.

There is one constructional item omitted from the sections for the sake of clearness.
This is the opening gear by means of which the whole of a series of ventilating lights
are opened at one operation. Generally speaking, the top ventilators, i.e., those in the
roof, are opened by revolving gearing operated by a crank fixed to the back wall or the
end framing in a convenient position, while the front lights are moved by a simple
lever. The latter are often a heavy load to raise all at once if hung from the top
edge, but by hanging them on pivot hinges about two-thirds of the way up the
framing, so that the top edge of the frame drops inwards as the bottom edge rises,
they can be opened and closed with ease.

Whether the range of glasshouses is large or small, it is usually necessary to have
a few good pits and frames. The difference between these is that, whereas the former
have brick sides and are fixtures, the latter are made entirely of wood and are usually
portable. They may be so planned and placed as to form an integral portion of the
design for the range of glass and may be heated by, say, one three-inch radiating pipe
run all round each in order to keep out the frost. The point most often neglected in
their construction is the efficient exclusion of rain-water along the ridge where the two
removable lights meet. The capping to do this needs a little ingenuity in its arrangement
to prevent its coming in the way when the lights are turned back, but there are several
good contrivances on the market to effect this.

We have already spoken of the placing of the potting shed. Its interior fittings
usually consist of a broad bench with bins below to hold various composts, sand, loam,
etc., and a little hob grate with a small oven in which occasional labourers may
warm their food. In other cases the shed is comfortably heated by means of a small
radiator connected to the heating apparatus. The floor should be of solid concrete
as the fumes from the heating chamber below would otherwise make the interior
unbearable, and, in building it, pieces of wood four and a half inches broad and three
inches thick, should be built into the walls on the inside about five feet six inches
from the floor, to fix hooks, drive nails, or screw shelves to.

The heating chamber must be of ample size to allow the person stoking the fire to
use his long stoking irons, and iron brackets to hold the latter are fixed to the wall.
There must also be a recess for fuel conveniently placed for stoking and with a shoot
above. Probably the ideal arrangement would be two separate shoots, one for coal
and one for coke, but only one is usual.

The doors from the potting shed and heating chamber should open on the space
at the back of the wall which supports the lean-to houses, and this is a convenient
place for the provision of a piece of open ground for storing composts, turf, leaf mould,
flower pots, barrows, tools, etc., and for the latter and lawn mowers, a shed may be
built against the high brick walls. Ready access by carts bringing fuel, manure, etc.,
is of course a sine qua non.

226

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

This compost ground is usually an ugly place and the sheds against the back wall Compost
of the range of glass are hideous, but there is no reason whatever why this should be ground.
so. If they are made with a solid wooden framing treated with Stockholm tar and
roofed with pan tiles of a nice colour, the latter may be neat and agreeable to look
upon, while the provision of brickwork bins for composts, etc., will keep the rest tidy,
and a neatly clipped hedge with a pretty gate may surround the whole.

A water supply throughout the range is important. In each house there should Water
be a tank of galvanized iron placed under the staging for dipping watering cans into, suPPh'-

FIG. 289. — RANGE OF GLASSHOUSES, AT HOLEHIRD, WIN'DERMERE.

and kept filled by a ball valve. This is far better than drawing from the tap direct,
as the water standing in the tank has the chill taken off it before use. There should,
however, also be a stand-pipe in each house to connect the hose to for floor washing,
etc. The same supply would also, of course, be laid on to the supply cistern of the
heating apparatus, and a tap over a little stoneware sink in the potting shed is also
very useful.

In the accompanying illustrations are shown plans and examples of ranges of glass
varying in capacity and design, to accompany garden projects of corresponding extent.

RflNCL OF PLANT
HOUSES & VINERIES
IN

T E BRACE

WALK

FIG. 290.

The first (111. No. 298) is a complete and self-contained scheme at Wych Cross
Place, Sussex, designed and carried out for Douglas W. Freshfield, Esq., as was every-
thing on this estate, in a complete and consummate manner, in conjunction with the
gardener's cottage and the bothy. The sense of unity and compactness observed here is
not always attainable in remodelling existing grounds, and is often lacking even in new
estates, where disconnectedness and diffusion are inexcusable. The noticeable points in this
scheme, which gives the principle which should always be kept in view, is the centralized
position of the heating chamber, thus obviating waste of heat, and the ease with which
the head gardener can supervise everything at any hour of the day or night.

Examples
of ranges
of glass.

227

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

.c-J - j .< • OF.~ £Ht>

XA,I

FIG. 291. — RANGE OF GLASSHOUSES AT HOLEHIRD, WINDERMERE.

PLANT HOU5E
CONSERVATORY
f, GREENHOUSE

PLAN

FIG. 292.

228

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

The second example (illustrations Nos. 289 and 291) shows additions to some fruit
houses at Holehird, Windermere. It may be noted that the old portion consisted of
early and late vineries, with a plant house in the centre and a peach house at each end,
the remaining houses shown being added from designs by the Author, thus welding old
and new into a self-contained range. The centre house was pulled down, and also one
of the peach houses ; the potting shed and the heating chamber, although considerably
enlarged, occupy the same position as before the alterations ; the remainder of the work
is all new. In planning these new orchid and plant houses, the limits were fixed by
the walks shown on the plan, and the position of the retaining wall surrounding them.
The proprietor wished to be able to go the round of the entire range without leaving
the shelter of the glass, an object which the allotted space somewhat favoured : the
only obstacle being that one of the outside vine borders had partially to be cut away.
This was, however, in a measure compensated for by the improvement made to the
inside borders.

FIG. 293. — RANGE OF GLASSHOUSES AT THE FLAGSTAFF, COLWYN BAY.

Entering by way of the potting shed built on the North side, an ample gravelled
space is provided for carts, etc. ; to the left, which is slightly higher ground, is arranged
the frame and standing ground, with the gardener's bothy placed against the North wall
of the kitchen garden. To the right and left of the potting shed are stores, office,
heating chamber, shed for tools, ladders, and compost heaps.

The heating mains are carried through the potting shed, the stores and office, to
right and left of the boilers, thus making these rooms comfortable to work in. The
heating of all the houses is so adjusted that the temperature of each can be regulated to
the niceties required for orchids or other purposes.

In designing the elevations, it was necessary that strict attention should be given
to the habits and requirements of the plants to be grown in the different houses, but, by
care in grouping and in detailing the cornices, it was found possible to obtain compact-
ness and simplicity without sacrificing appearance.

229

CONSERVATORIES, GREENHOUSES, VINERIES AND FRUIT HOUSES.

The perspective view (111. No. 293) shows a range of glass erected at The Flagstaff,
Colwyn Bay, North Wales, consisting of potting shed with heating chamber under, a
corridor and room in which to pack flowers and fruit, palm house (18 feet by 17 feet),
early muscat house (27 feet by 16 feet), late vinery (27 feet by 16 feet), and plant house
(24 feet by 16 feet). All these glasshouses face due South. Against the wall connecting
the lodge and the potting shed are erected early and late peach houses, and projecting
from this are two span-roofed houses used for propagating and melon growing.

The fourth example given (111. No. 290) shows a small but useful range of glass,
designed in connection with a formal garden for a Lancashire client, consisting of a
plant house which can be used as a conservatory for the display of chrysanthemums or
other flowers in bloom, a vinery, which is divided into two compartments, one for
Black Hamburgs and the other for Black Alicantes and Lady Downe Seedlings, and, at
the end of the vinery, a plant house and stove, each 12 feet wide. Like the first
range of glass described, the whole of these houses are in direct connection with the
potting shed.

The fifth example (111. No. 292) represents glass houses on a small scale, erected
at Windermere. Here there is a conservatory in the centre, a small stove at one end,
and greenhouse at the other. The chimney in this case was not permitted to be near
the house ; in preference, therefore, to carrying the pipes in trenches, it was considered
more economical to place the boiler near its work at the end of the stove, conducting
the smoke through an underground flue to a chimney over the potting shed some
forty feet distant. The stoke-hole is completely hidden by placing over it a span-
roof pit, which, being visible from almost every portion of the grounds, was made
rather more ornamental than is usual. Illustration No. 281 shows a very similar
range which embodies in its design some of the best features of the pre-Victorian
glasshouse.

The last illustration (111. No. 294) is of a very simple little greenhouse, calculated
to give pleasure to amateurs and ladies interested in gardening. Essentially a "growing
house," it is suitable for almost any class of plants ; the requisite amount of piping is

provided. Where there are no
other glass erections, the wisest
plan is to use it as a cool house.
It is attached to a potting
shed and tool house containing
a potting bench, the heating
chamber being under, with in-
dependent boiler and extended
hopper feeder, to ensure the fire

FIG. 294. burning for a long time without

attention. This little boiler heats

a 4-inch flow and return pipe passing round the greenhouse, sufficient to keep the
temperature at 45 deg. during the Winter months. The staging is 4 feet wide, of
fixed lattice on one side, and on the other of slate, which can be removed to allow
chrysanthemums being placed on the ground during the period of blooming.

230

FIG. 295. — ESPALIERS FOR FRUIT AND -ROSES IN THE KITCHEN GARDEN, DUNCHURCH LODGE.

FIG. 296. — FRUIT ESPALIERS AT FOOTS CRAY PLACE, KENT.

CHAPTER XV.

" Oh the incredible profit by digging the ground !
for though it be confessed that the plough beats
the spade out of distance for speed (almost as
much as the press beats the pen), yet what the
spade wants in the quantity of the ground it
manureth, it recompenseth with the plenty of
the fruit it yieldeth, that is set multiplying a
hundredfold more than that which is sown." Fuller.

It will be remembered that, in Chapter III., where we followed the prospective
owner through the process of choosing the site and deciding what use to make of its
various parts, the first portion of the pleasure grounds to receive attention and to have
its locality and size determined was the kitchen garden.

This may seem to be an inversion of the natural and correct order of things to
those people who look upon the kitchen garden and orchard as purely utilitarian
departments of the domain, to be kept out of sight and as far from the pleasure grounds
as possible ; but there are many old examples throughout the country, especially in
Scotland, which are in every way the most delightful portions of the grounds, giving
sheltered walks at all seasons amidst trees and plants " good for food and pleasant to
the eye," imparting variety and interest perennially.

To the " soul attuned to sympathy " no pleasure exceeds that of being able to
wander round a prim walled-in garden, enjoying the fragrance of the blossom in Spring,
and watching the setting of the fruit and its various developments through the succes-
sive seasons until the in-gathering. To remove it to a distant and inaccessible site
where the owners and their guests cannot enjoy this, is to rob them of a source of
pleasure and instruction.

But, it will be asked, is it possible to make the kitchen garden a successful part
of the pleasure grounds, and give it aesthetic value without impairing its usefulness, and
if so, what are the materials which we may use for the purpose- with appropriateness
and without affectation ? The answer to the second of these questions also supplies
that to the first. We have one great asset in the herbaceous borders which that
most commendable fashion of keeping the house fresh and gay with large quantities of
flowers, renders necessary, the espaliers for fruit trees, from which pleasant vistas may be
contrived, fruit walls to aid the aesthetic effect by giving an enclosed appearance, pro-
pagating and other glasshouses, which, as we have shown in a previous chapter, may

The placing
of the
kitchen
garden.

/Esthetic
possibilities
of the
kitchen
garden.

233

KITCHEN GARDENS AND ORCHARDS.

Aspect.

Extent.

be made to heighten the effect, dipping wells for watering, tool sheds and fruit rooms
which may receive appropriately quaint treatment, walks which may not only aid in
forming vistas but may have their surfaces treated in an attractive manner, and, in
fact, there seems to be no adjunct to the garden which may not be made pleasant to
look upon either from its design or placing, or both.

These considerations, if fully understood and their potentialities grasped, throw an
entirely fresh light on the problem of the placing, design and internal arrangement of
this feature, and, if made the most of, will result in a very considerable extension of
the pleasure grounds, which, as it is formed by the effective arrangement of material
that it will be necessary to supply in some form or other, may be considered to

be obtained without any added
expense.

Having decided that the con-
struction of the kitchen garden as
an ornament to the domain is not
only desirable but possible, the first
question to be settled before com-
mencing its construction is- — where
shall it be placed ? The determining
factors in arriving at an answer are
of two kinds, practical and aesthetic,
and in many cases they will more
or less conflict with one another, and
thus the result will be a compromise.
In those happy instances where the
practical requirements are met under
the best conditions, there can be
no better plan than that adopted
at Wych Cross Place in Ashdown
Forest (111. No. 280), or at the
"Flagstaff" Colwyn Bay (111. Nos.
14 and 297), and again in the plan
of Little Onn Hall (111. No. 405),
in all of which instances the kitchen
garden has been so placed that the
principal walk gives added length
and more pronounced crosswise per-
spective to the main terrace walk
in front of the house.

Foremost of the practical considerations is that of aspect, and ground which
has a gentle slope to the South, South-east, or South-west is best being sunniest.
We must also have shelter beyond that which can be given by the fruit walls either
by a hill rising on the North or North-east side, or better still, a wood of well-grown
trees ; and a good soil, which however, if it does not already exist may usually be
produced artificially. As to the extent of the kitchen garden, with the improved
railway and postal facilities which, in case of emergency, will nowadays bring fruit
and vegetables from the nearest town in a few hours, it is no longer necessary to
lay out huge vegetable gardens such as are still found in many old country demesnes.
For a moderate-sized establishment, an acre and a half of kitchen garden would be
sufficient, independent of the space allotted to the frame ground and range of glass-
houses, while, for a small establishment, three-quarters of an acre of cropping ground

FIG. 297. — CONNECTION BETWEEN PLEASURE GROUNDS AND
KITCHEN GARDEN, " THE FLAGSTAFF," COLWYN BAY.

234

KITCHEN GARDENS AND ORCHARDS.

will be found to meet all requirements. It should be understood, however, that this
area will not allow of late potatoes nor for any space being given up to orchard trees,
espaliers or herbaceous borders, which must be allowed for in addition.

After aspect and size comes shape, and it cannot be too strongly insisted upon, that Shape.
a kitchen garden, in which the primary object is utility, should be planned with a view
to obtaining the largest possible cropping area within the least fencing, which means
that, so far as possible, the lines of the walls should be straight and at right angles to
one another. For the purpose of obtaining ample wall space for fruit trees, a
parallelogram is better than a square, in the proportion of, say, one hundred and
fifty feet to one hundred in breadth, thus securing additional length of wall with a
South aspect.

KITCHEN
GARDEN AT
WYCH -CROSS
SUSSEX

Sc*l* Of

*—.

2 FRflMES

5 STANDING GROUND

COTTACE

15 BOTHY

16 WORKMEN'S MESS ROOM.;

17 OPEN SHED

18 POTTING SHEO

19 POTTING SHED

FIG. 298.

Sometimes, however, owing to the lines of existing boundaries or the division of
the land by drives or estate roads, a regular shape is impossible, and occasionally a
kitchen garden may with advantage be of unusual shape, as when it is modelled to
fit a site with curved contour lines or other peculiarities. Such conditions often call
for great ingenuity on the part of the landscape architect, who, however, feels doubly
rewarded by the satisfactory and even strikingly original results which often follow from
the solution of special difficulties.

Care should also be taken to select a position which admits of thorough drainage, Drainage.
especially when the site chosen is in a valley or on low-lying land. A serious mistake
is often made in selecting a snug, sheltered position in the bottom of a valley, because,
in such positions, Spring frosts are most troublesome : not because there are more
degrees of frost there than on higher ground — there may indeed be less — but because

235

KITCHEN GARDENS AND ORCHARDS.

there is more moisture on which the frost can act. If however there be no alternative
it will be necessary to drain more completely ground lying in a hollow.

Construe- The site having been determined upon and the size and shape pegged out, the first

tion. step in the formation will be the treatment, enrichment, draining and levelling of the

ground, which should be undertaken before the area is walled in, for there will generally
be much carting or wheeling of materials and composts to and from and about the
ground, which is better and more conveniently done while it is clear on all sides.
Where draining is necessary this should be carried out first, and the pipes laid deep
enough not to interfere with subsequent operations, or become choked with roots. The
principles on which it should be done are the same as those for lawns as described in
Chapter IX., and their application is well illustrated by the plan of a kitchen garden
given in illustration No. 298. In this instance the ground has an approximate fall of
one foot in twenty-eight towards the house, the soil being deep and fairly retentive. As

FIG. 299. — DOOR IN A FRUIT WALL.

FIG. 3OO. — DOOR IN A FRUIT WALL.

will be seen, the main drains follow the lines of the paths. They consist of glazed
stoneware pipes laid with open joints, and the land drains connected to these are about
three feet deep, and in rows eighteen feet apart.

Where the ground is very uneven, it will be necessary to grade it to an even fall,
if not over the entire area at least over each section or " quarter " of the garden ;
economic cropping and upkeep require this. Contractors who undertake to lay out
gardens as well as to erect the house, too often bring the subsoil to the top, which,
though a commendable way of treating an old worn-out garden, is a mistaken treatment
for. a new one, where the most fertile soil is near the surface. The best method is
to overhand-trench it, i.e., to make two trenches instead of one, throwing the top spit
on to the second trench and the subsoil on to the near one. If, to secure a good
gradient, it is necessary to excavate at one part and fill at another, the portion removed

236

KITCHEN GARDENS AND ORCHARDS.

should be the subsoil from the bottom of the trench, and not the fertile top soil, and
it should be relaid at the bottom of the trench on the lower portion of the ground
which it is intended to raise. In this way, the good soil is always kept to the top.

Much can be done to improve a poor soil by draining when water-logged, by Improving
incorporating lime, road scrapings, burned ballast or sand where it is heavy or clayey, the S°H-
by the use of clay where the ground is sandy, and by deep and careful trenching as
described above, adding to the soil already on the ground that taken from the site of
the house when house and garden are being made together, also that from the new
walks, the site of the glasshouses or potting sheds, or anywhere it can be spared. To
enrich the subsoil, add liberal supplies of manure, cow manure for light land and horse
manure for heavy land, and old lime and screened rubbish from old buildings for
heavy clay or peaty land.

For convenience in working, the garden should be divided into plots or " quarters "
approximately ninety feet long by sixty broad. The length should, if possible, run
East and West, so that the cropping may be the short way of the quarters. This
reduces labour, and at the same time ensures to the crops the greatest amount of
sun.

After the ground formation will come the walls. Brick walls are undoubtedly the Fruit walls.
best, but where stone is the prevailing building material of the district, the garden
walls will look more becoming in the latter material. Brick is, however, the best con-
structionally for it allows of a cavity wall which will give greater warmth and dryness
and so help the ripening of the fruit. It is also more necessary and more expensive
to wire a stone than a brick wall as brick facilitates nailing. Both stone and brick
walls should be cement pointed, as otherwise they harbour garden pests, and where the
foundation rests on clay, either wall will require a damp-proof course, placed some two
or three brick courses above the ground level. For training the fruit trees successfully
it is desirable that the walls should have a plain, unbroken face on the side facing the
kitchen garden, but, on the other side facing the pleasure grounds, the appearance is
improved by introducing such features as pilasters, or buttresses, to harmonize with the
terrace walls or other adjacent structures, and it is even possible, of course, to build
the wall so as to show a brick surface on the inside and stone
on the outside, while in a district where large flints abound, the
outside might be built in the flint work which looks so quaint in
old country churches, with piers of roughly squared stone or brick.

The doorways, especially those leading to the pleasure grounds Doorways.

and house, should receive careful treatment. Suitable arrangements
will be found in illustrations Nos. 299 and 300, while for certain
positions, such a quaint little gate-house as that shown in illustration
No. 71 would give an added charm.

The heights suitable for fruit walls vary according to the aspect
and the amount of shade they will throw on to the garden, those
on the North, East and West being higher than that to the South,
the North side of which would face the garden. The North — that
is the wall with a Southern aspect — might be twelve or fourteen
feet high, the West and East walls, nine to ten feet, and the South
wall seven to nine feet high. Many fruit walls are only nine inches
thick, but a far better result is obtained by building them fifteen
inches thick, and hollow for at least the first two feet of their FRUIT WALL

height, as shown on the accompanying sketch (111. No. 301) . FIG- 30I

For copings, a hard flag-stone two and a half to three inches in
thickness, projecting two and a half inches on each side of the wall and having a

237

KITCHEN GARDENS AND ORCHARDS.

water-drip groove on the under side of the projection (111. No. 302) , does just as well
and looks much neater than more expensive forms of coping. Where stone is costly, a

coping similar to that shown in the
may be adopted, consisting of bricks
jecting courses of tiles or slates, and
corbelling out brick headers under
dentilled course would add very
to build into the wall under the
" board irons " on which boards may

FIG. 302.

accompanying sketch (111. No. 303)
set at an angle and resting on pro-
f if additional ornament is required,
the tile courses so as to form a
little to the cost. It is advisable
coping, iron brackets known as
be laid as a protection to the fruit

FIG. 303.

trees in the Spring, in the manner shown on the same sketches. The irons may be used
later on to fix bird netting.

Wiring The ordinary and most economical method of wiring a wall is on the principle

walls. adopted for the espalier shown in illustration No. 307. The

wires should be placed twelve inches apart, commencing eight
inches from the ground and one and a half inches from the wall
in order to allow the fingers to pass behind the branches when
tying in. The necessary eyelets and fasteners for end straining
bars should be built in as the work proceeds ; it is a great mistake
to break into the completed wall in order to insert them.

As stated in the previous chapter, when not provided for in
a separate department, the vineries, peach houses and other glass
houses are generally built against the South side of the North
wall, which ensures the greatest amount of light and Sun, but they may also be
built with an East or West aspect, and this is often the most economical method
of treating fruit houses. The portions of the walls not occupied by glasshouses should
be used for choice hardy fruit trees of varieties suitable for the aspect. Thus,
on the walls facing South, peaches, apricots, Coe's golden drop plum and the better
varieties of pears and apples may be planted, while walls having a Western aspect will
grow excellent crops of apples, pears and plums, while the Eastern aspect will grow
choice pears and plums. The Northern side of the North or South walls might grow
morella cherries and red currants. It would be impossible to give here lists of fruit
trees suited to all localities and soils ; this subject in itself deserves, and moreover has,
volumes devoted to it. Unless the object is to render a public service by experiments,
the best of the varieties which are known to flourish locally should be planted. Fan-
shaped wall or espalier trees should be planted only as young trees, but cordons or
candelabra shapes may safely be obtained in fruiting sizes, especially pears.

Fruit Fruit borders should be from fifteen to eighteen feet wide and, for the sake of

borders. symmetry, the same width from each wall. They require careful making, especially on

heavy lands, where the whole of the surface soil should be carefully thrown back and
a layer of broken stones, bricks, rubbish or burnt clay spread over the ground to a
depth of at least ten inches, the ground having been first thoroughly drained. On
the top of this rubbish, a layer of good turf from an old pasture should be spread or,
if this is not obtainable, a layer of half-rotted stable manure ; the soil may then be
thrown back and more added until there is a depth of at least two feet with a rise
of nine inches from the front of the border to the back. These borders can be used
for the earliest, crops of vegetables and salads or for strawberries.

£-l!n soils which do not lie on chalk or limestone, old mortar or wood ashes and also
a sprinkling of crushed bones, should form a fractional part of the compost of the fruit
border, otherwise stone fruits will almost certainly fail.

Planting The planting of the trees is not generally conducted with the care it demands.

fruit trees. Not only is insufficient time allowed for the borders to consolidate before planting but

238

KITCHEN GARDENS AND ORCHARDS.

FIG. 304. — A BRICK-PAVED KITCHEN GARDEN WALK.

FIG 305. — CENTRAL FEATURE IN THE KITCHEN GARDEN, THORNTON MANOR

239

KITCHEN GARDENS AND ORCHARDS.

FIG. 306.

the roots are put in too deep and without proper arrangement. Instead of this they
should be carefully spread out at the top of the border and the soil rounded up over
them to a depth of four to six inches. No manure should be placed under the roots
but added as a top dressing to induce surface rooting. In stiff clay soils, it is advisable
to lay slates or tiles under the brick or stone drainage to prevent the penetration of
tap roots into the cold subsoil.

Paths. \ The paths may be made either before or after the formation and

planting of the fruit borders, according to the amount of time available
before the planting season, for nothing must be allowed to delay
the latter work from one season to the next. Only when the garden
exceeds four acres in extent will it be found necessary to make a cart
road through it, but the walks should vary in width according to
their use. The kitchen garden at Dunchurch Lodge (111. No. 295)
presents a very typical example, and here the main walks were made
nine feet wide and the minor paths six feet, widths which have proved
ample. For gardens of an acre in extent the principal path might be as little as
six feet six inches broad and the minor paths only five feet. In the kitchen garden
it is possible to adopt a form of walk which would not be suitable for the flower
garden or terraces, but whatever the material used, it is very important that they
should be well made and efficiently drained as they are subjected to hard wear,
and a poorly constructed path would soon be cut up by the barrows. A very good
plan and one which can be made to look very effective is to lay a narrow band of
York stone flag or " granolithic " patent stone along the centre of the path on which
to run the barrows and to take, also, most of the pedestrian wear. If, on either side,
this strip is backed up by cobble paving with a stone edging to the beds, such as that
shown in illustration No. 306, the result may be very good, and has the further
advantage that, after a shower, when the flat flags are very wet to the feet, the rounded
surfaces of the cobbles lift one out of the water, which runs away between the stones.
The gardener may object to the latter material on the score that weeding between the
cobbles is tiresome work, but if they are laid in cement, no weeds will grow, while, in
other cases, an occasional sprinkling of boiling water, especially if a little weed-killer is
added, will completely remedy the evil. In a brick district, paving in red bricks,
such as that shown in illustration No. 304, may be very charming if intelligently used,
as it will give such a pleasant colour contrast with the greenery, an advantage shared
with red shale and burnt ballast, which latter materials, however, have a troublesome
way of picking up badly after a frost, that is, they stick to the boots in large heavy

masses, leaving holes in the path
at every step. Even tar paving,
which makes a pretty flower
garden almost impossible, may
often be used in the kitchen
garden with success. It should
not be used where the area
of the paths is exceptionally
large, however, or the. emana-
tions from the tar may have a deleterious effect of the neighbouring plant life.

Edgings to All the remarks as to stone, brick or terra-cotta edgings for walks given in Chapter

beds. IX. apply equally to the kitchen garden, but whichever of these is adopted, it should

be laid in cement so that it may not be disturbed by digging operations. Grass is not

suitable for edging ordinary kitchen garden paths unless in those rare instances where

it can be laid in very broad strips, but it may be used where herbaceous borders line

FIG. 307.

240

FIG. 308. — ESPALIER OF IRON THROUGHOUT.

KITCHEN GARDENS AND ORCHARDS.

the walk. Occasionally a central grass walk nine to twelve feet in width, flanked by
deep herbaceous borders and enclosed by yew hedges, secures a fine connection between
the pleasure grounds and the kitchen gardens. Such paths may with advantage be edged

with flat stone
flags, as in illus-
tration No. 155.

A proper Water
water supply for supply.
the garden is
important and,
where this can-
not be obtained
in the ordinary
way, large cis-
terns should be
supplied for the
reception of the

rainwater collected from the roofs of glasshouses or other buildings. However the water be
obtained, it is much better if exposed to the sun and air for a few hours before use, and
this is best done by the provision of a dipping well, such as has already been described Dipping
when speaking of fountains. In most gardens, the best way is to make this feature wells.
the central object in the design up to which everything leads, and to place it at the
intersection of the two paths across the centre of the garden, one running North and
South and the other East and West. In many cases, one of these walks will be spanned
by a fruit espalier, while the other will pass between the herbaceous borders, which in turn
will be backed up by clipped hedges, so that whichever way one looks from the central
point, an interesting vista will be provided, especially if each is closed at the opposite
end by a pretty gate, fruit room, arbour, or the centre gable of a nicely proportioned
range of glass. These considerations open up the opportunity for many delightful
arrangements and justify the sacrifice of a little more ground round the dipping well for
a circular or octagonal open space than would otherwise be conceded, so as to allow of
garden seats facing the well with its fountain jet, and backed up by an arrangement of
festoons of rampant roses supported on pillars, which are particularly useful in supplement-
ing the flowers from the herbaceous borders for house decoration, or where more shelter
is required, the clipped hedges which form a
background to the herbaceous borders may be
carried round the gravelled circle surrounding
the dipping well, arches being formed in them
over the paths where they cross them. Illus-
tration No. 305 shows a typical arrangement
of this kind.

Fruit tree espaliers and bowers are not only interesting structural features in the Espaliers.
garden, but are also very economical, as they occupy but little space, and with properly
trained, healthy trees, give a large return for the space occupied. These bowers also
furnish a tempting opportunity, which the rigid culturalist and stern economist will
pardon, to enliven the over-apparent expression of bare necessity in the modern kitchen
garden with a wealth of roses, assigning the principal supports to them, with fruit trees
in the interspaces. Such a bower walk may even be erected outside the kitchen garden,
and lead from it towards the pleasure grounds or the garden entrance of the house.

Espaliers are formed of iron, iron and wire, wood and wire, or wood and iron, or all
three of these materials. Although espaliers constructed entirely of iron standards and strained

FIG. 309.

24I

KITCHEN GARDENS AND ORCHARDS.

FIG. 310 — THE FRENCH FRUIT GARDEN, FOOTS CRAY PLACE, KENT.

FIG. 311. — THE FRENCH FRUIT GARDEN, FOOTS CRAY PLACE, KENT.

242

FIG. 312. — ESPALIER OF IRON THROUGHOUT.

KITCHEN GARDENS AND ORCHARDS.

wire are most usual, a freer effect is obtained by the use of wooden posts and top rail

with strained

wires passing

through the

posts as shown

in illustration

No. 307.

Wood also

allows of a

more artistic

treatment,

and although,

perhaps,

rather less

durable than

iron, is better

for the plants,

as the cold

iron checks

the tender buds.

The most usual iron espalier is that shown in illustration No. 308, and in a more

elaborate form in illustration No. 312, the latter being used with effect in the

gardens at Trentham, the long
bower at this place being over-
arched with pear trees.

Another arrangement of a
similar kind- may be made by
placing a low espalier, such as
the one shown in illustration
No. 309, close to the walk and
the taller one behind it, with a
border between. The effect of
this arrangement is clearly seen
in illustration No. 310.

An effective espalier with
wooden posts and bays of iron
trellis between them is shown in
illustration No. 313. As will
be seen it is so designed as to
meet a very considerable fall
in the ground, and the trellis
is arranged in a series of bays
so as to give shelter to the flowers
planted between. Another wood
and iron espalier is seen in the
accompanying views of the fruit
garden at Foots Cray Place, just
referred to, where ornament was
the prior motive in its arrange-
ment, the fruit branches being

FIG. 313.

-WROUGHT IRON FRUIT ESPALIER IN THE KITCHEN-
GARDEN, WOOD, DEVONSHIRE.

trained to thin wooden laths in the French manner.

243

KITCHEN GARDENS AND ORCHARDS.

Fruit
rooms.

Examples.

The arrangement and training of fruit trees on espaliers has been brought to great
perfection by the French horticulturalist, who by his special methods cleverly secures
the greatest fruit-bearing capacity together with a very beautiful arrangement of branches,
He aims at getting the greatest amount of fruit-bearing wood on any given area of
wall or espalier. The branches, whether in the form of upright cordons, fan shaped,
candelabrum or horizontal, are twelve inches apart ; there is no waste of wall space yet
no tree is allowed to encroach upon its neighbour. Here is a useful lesson which our
Continental neighbours may teach us, as the method is in every way adapted to English
gardens, and a successful example is given in illustrations Nos. 310 and 311. It is well
to remember, however, that just as with us topiary work often degenerates into grotesque
vegetable sculpture, the cleverness of the French gardener sometimes leads him to attempt
absurd forms, such as tables, balloons, birds and beasts ; which are to be avoided.

An important adjunct of the kitchen garden is the fruit room. Every hostess knows

the risk and anxiety
cherished tray of
apples or pears, and
spent on elaborate
good keeping. A
fruit room, such
in illustration No.
needed if grapes are
for apples, much
may be adopted,
freshness of the
earth, particularly
served, and flowers
a dug-out room (111.
eluding the light and
of air in order to
evaporation. Above-
built of match
ally insulated with
thatched on both
(111. No. 317) are
somewhat expensive.
an entirely under-
as that shown in

FIG. 314. — A FRUIT ROOM.

of keeping, say, a
specially good dessert
much money is often
erections to ensure
well constructed
as the one shown
314, is in any case
to be kept, but
simpler methods
The flavour and
kindly fruits of the
apples, can be con-
retarded, by making
No. 315) and ex-
the free circulation
lessen the natural
ground fruit rooms
boarding and liber-
ground cork, or
roof and sides
practicable but
Economy suggests
ground room such
illustration No. 316,

which could be covered over with a sufficient depth of earth to ensure an equable
temperature. Compact planning would direct that this room be sunk under one of the
garden offices or under the cold storage, or as an independent underground room with a
roof of arched concrete, but in any case it will need a regulated ventilating shaft at
each end, double doors at one end, and a small window opening on to an area at the
other. A damp earth floor is essential to fruit preservation.

To explain and enforce the above remarks relating to kitchen gardens, illustrations
are given of several designed by the Author.

The first (111. No. 318) is the plan of a kitchen garden of nearly two acres, designed
for a client in the United States, and illustrates a case where, on account of the
peculiarities of the site, the garden cannot be square in shape. The site of this garden
was previously cut up into a number of small plots containing frame cottages, which
have now been removed to a more secluded position, and there erected according to an
ordered plan. The garden required comparatively little grading, excepting at the North

244

KITCHEN GARDENS AND ORCHARDS.

C B » WM t>

FIG. 315.

FIG. 316.

and South ends. At the North it was found necessary to erect a retaining wall, and at
the South or narrow end, to fill up some five feet. As is usual in America, hedges
were planted in preference to expensive walls.

In illustration No. 319 is shown the kitchen garden at the Manor, Thornton
Hough, Cheshire, the seat of Sir William Lever, Bart., and is a good instance of adaptation
of the plan to the special conditions of the site, the garden of about an acre and a half
being set angle- wise to the house but parallel to a boundary wall and bridle path. Here the
primary object was to provide sheltered walks convenient to the residence and connecting
directly with the principal terrace walks. The plan of this garden should be compared

with the photograph of its central

portion given in illustration No. 305,

which gives a good idea of the treat-
ment of details. The effect, when

the fruit trees are in blossom, is very

fine indeed. This scheme is, of course,

part of a connected formal garden,

but the same principles might be

adapted to many places where the
details would, for reasons of cost, be of the simplest description.

An effective kitchen garden placed close to the North side of a house adjoining
the carriage court and generally embodying the principles and requirements already
advocated is given in illustration No. 279. This garden is entered by a wrought-
iron gate from the carriage court and a view is obtained from it down the central path
of the garden, which is constructed on the principles already explained, terminating in
a conservatory placed against the North wall of the garden, with plant and fruit houses
arranged to right and left. Near the centre of the garden is a circular dipping well
with a simple upright fountain jet, and on each side of the walk is a border
six feet wide for hardy perennials, flanked by fruit espaliers. At regular intervals
flower-grown arches span the walk, giving,
as viewed from the Carriage Court, the
appearance of a continuous bower, where
along the level sheltered paths, surrounded
by fragrant flowers, most garden lovers
would delight to stroll. The evergreen
shrubs flanking the conservatory would
supply the necessary touches of green in
Winter, and might be supplemented by bay
trees in tubs at sheltered places, which
would be by no means out of place in
the kitchen garden, as in many establish-
ments the leaves are indispensable for
flavouring purposes.

There are three adjuncts of the domain so intimately connected with the kitchen Frame
garden both in planning and purpose as almost to form parts of it. These are the grounds^
frame ground, the reserve garden and the orchard. The first of these, with its various
erections such as potting sheds, tool houses, fruit rooms, places for ladders, wheel-
barrows, garden rollers and lawn mowers, bins for composts and manures, and standing
ground for chrysanthemums and other plants which require plunging, has already been
mentioned in dealing with glasshouses, and it is only necessary to add that it is a wisely
directed forethought which studies the comfort and convenience of the garden staff,
especially where several young men are employed. In the critical season of a severe

FIG. 317.

245

Reserve
garden.

Orchards.

KITCHEN GARDENS AND ORCHARDS.

Winter, men living at a distance are liable to neglect the fires and the protection of their
frames. If we are to maintain our national reputation in gardening, there must be a
thorough system of oversight by the head gardener often extending beyond ordinary
work hours. This necessitates the gardener's cottage and a bothy being placed at or
near the gardens, as in illustration No. 298, and in direct connection with the frame
ground. As it will be necessary for the whole staff to work under shelter on wet
days, the sheds in the frame ground should also be ample.

In the illustration just referred to is given a drawing of the frame ground at Wych
Cross, Ashdown Forest. This is part of an extensive garden laid out about eight years
ago for Douglas W. Freshfield, Esq., and is supplemented by a stick and manure yard
some one hundred yards distant but in convenient relation to it. It gives the
accommodation which would be necessary in the frame ground for a moderate-sized
country house. It is a part of the garden which does not to-day receive the care and

FIG. 318.

attention formerly devoted to it, though it would seem to be more necessary than
ever, for it is here that so much of the best work is done, and upon its plan and
arrangement depends, in a large measure, the tidiness of other parts of the garden. It
is, in short, the gardener's workshop and warehouse for raw materials.

In most gardens, except those of very moderate extent, a reserve garden should
be arranged for, or a grassy or garden orchard formed, a place where relief may be
found from the effort and ambition of producing the largest fruit of the most striking
varieties. The reserve garden has shorn grass paths with espaliers, damson, crab and
cherry, and quaint fruit trees on the French system, with a wealth of herbaceous
borders and overarching wreaths of roses, but is not so prolific as the garden orchard.

More romances of fiction and song have been laid in an orchard than anywhere
else, for, if rightly considered, it is the one part of the domain above all others which
speaks of seclusion, peace, quiet and rest, a close commune with nature and rural pleasures.
It is the garden of romance and song, of birds and bees and flowers, of tender memories

246

KITCHEN GARDENS AND ORCHARDS.

and peaceful sights and sounds, where "Nature painteth all things gay," where the pro-
fuse Siberian and John Downie crabs vie with the apple and cherry blossom, and the
free rambler roses, allowed here to clamber up the apple tree stocks, or in free and wild
profusion, to form an embowering thicket, with the snug recess where are the bee hives
amidst marsh mallows completing the picture. Here the grass may be allowed to grow
up and exhibit its luxuriance and variety until its freshness begins to wane, variegated
here and there, in the seasons of blossom or fruit, with drifts of daffodils or meadow
flowers.

The sense of quiet remoteness and peaceful seclusion which is the chief charm of
most old orchards is best attained by so designing them that they are approached through
one of the flower-bordered or fruit-embowered paths of the kitchen garden, which is
in itself an enclosed garden. Very often one main path through them leading to a
quaint but simple gate communicating with the home park or a pleasant field path,

THOKNTOX MANOR CHESHIRE

FIG. 319.

may be gravelled, but other ways about the orchard itself are better laid down with
broad paths of closely shorn grass, and where they are enough used to make it difficult
to keep the turf in good condition, a strip of the green Westmorland flag may be laid
along the centre. This material may be obtained of a shade exactly suited to the
purpose, and which so harmonizes with the colour of the grass to be quite in keeping.
The boundary may be formed of a thick hedge of cluster roses, or better still, of the
fruitful cut -leaved blackberry, festooning a rough wattle fence and allowed to grow high
enough and thick enough to assist the air of seclusion.

While dwarf bushes will soonest yield an abundant crop of fruit, the orchard designed
to form a part of the grounds of the domain will be more appropriately furnished with
the older fashioned standard fruit trees. All the remarks regarding the planting of
wall trees in the kitchen garden also apply to these, except, of course, that the young
trees would be fastened to strong stakes let well into the ground, and that it is necessary

247

KITCHEN GARDENS AND ORCHARDS.

•

that the grass should not be allowed to grow within two or three feet of the stems
until they are well established. When the fruit trees are well grown, the neighbouring
kitchen garden will benefit by their presence, for they will form an efficient wind screen,
and their free and unrestrained limbs appearing above or overhanging the fruit walls will
give a pleasant note of contrast, especially when they are laden with blossom or fruit.

The chief charm of the typical English orchard is, as we have already said, its
air of old-world peaceful seclusion, and in laying out a new one we should make the
attainment of the same atmosphere, as far as is consistent with its surroundings and
purpose, our chief aim. This can only be done by a very careful consideration of all
the details and furnishings, which must be simple and unostentatious in their design
and solid in their construction. Of course only a few accessories are possible, but we
may have a simple circular seat round the base of an apple tree or a straight one with
a tiled canopy or pent roof over it at the end of the principal walk.

We may even have an enclosed aviary with its details carried out in carefully
proportioned trellis work after the manner of that which so often accompanies the
verandahs and balconies of Georgian mansions, and of course there are gates, doors,
fences, steps and other utilitaria on the design of which we may exercise artistic ability
and taste. What could be more charming for instance than profuse masses of bloom
overtopping a little lych-gate or seen in inviting glimpses through the open panels
of a door in an arched doorway, or a fence constructed of materials which strike a local
note, and swathed in masses of rampant roses, presenting not only colour and sweetness
within, but providing a thorny reception to intruders and fruit stealers from without.

By this and similar means, the orchard may be made one of the most attractive
portions of the domain, from early Spring to late Autumn. First will come the snow-
drops nestling round the stems of the trees, to be followed by carpets of brilliant single
daffodils accompanied by clusters of primroses on banks and under the fences, which
in turn will give place to scented violets, but not before the whole orchard has put on
its gorgeous panoply of white and delicately pink blossom. From the time this has
disappeared until the fruit begins to ripen, the orchard will be gay with roses trained
over the fences, and, after the main fruit harvest is over, the Virginia-creeper, trained
over the arbour or lych-gate, may prolong its Autumn glory a little longer ; and even
in the depth of Winter, one or two old apple trees may be given over to the cultiva-
tion of mistletoe, so that throughout the whole year this delightful feature, with its
stores of old associations, may provide variety and be attractive for its own sake.

248

FIG. 320. — THE GARDENS, LEVENS HALL.

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-.•c!.iMui3^,"*M3tenaui*i44)£*#<MH*ii>tv -fii*fci» _ . ^ f ,^<*jiv!. , .

CHAPTER XVI.

Of avenue carriage drives we have already spoken in another chapter, and those Green
with which we now propose to deal belong to a different category, being purely a avenues.
part of the ornamental portions of the domain and considered solely as a feature in
themselves and not merely as an effective addition to a necessary roadway.

The opportunity rarely occurs for the formation of an avenue on the grand scale
adopted by the gardeners of the Renaissance, such as the triple avenue at Badminton,
two and a half miles long, as described by Kip, the centre space two hundred feet wide
and the side aisles each eighty feet. They might however, be planted oftener than they
are, but with due caution, let it be noted, because, being essentially an expression of
stateliness, they should therefore lead up to some building of a scale and size sufficient
to give them an adequate object on which to focus their pronounced lengthwise
perspective and to close the vista.

A form, of which many fine examples are still in existence, is the radiating avenue,
which generally consisted of a number of avenues starting from one point and inter-
sected by others arranged in a similar manner. The accompanying illustration (111. No-
321) from " Loudon's Suburban Gardener " conveys a good idea of such an arrangement.
While, however, the large square bosk and the two principal radiating aisles would
certainly be impressive, such a multitude of avenues as is here shown would cover a
large area of ground and would be pleasant only for use in the Summer months.
Where there is an unlimited extent of fairly level parklands, and where the distant
views are unimportant, radiating avenues, if designed so as to be strictly in scale with
the central mansion, may however be very effective.

Both these classes of avenue are the accompaniment of architecture on a very
large scale, and form a part of an extensive domain and thus lead to the ques-
tion— " Are avenues to be the accompaniment of palatial architecture only ? ' I can
only reply that I have never proposed one, excepting when it led up to an important
building, considering an avenue of fully grown forest trees to be entirely out of scale
with a small house ; but there are many examples of moderate sized residences designed
in the Georgian or Italian renaissance styles where short avenues, framing fine landscape
views, are entirely in keeping. Such avenues are by far the most effective when placed
on the East and West sides of the house, and, running East and West, they provide
green wings to the mansion as viewed from the South front. In Continental countries
these wings of foliage are used as a definite factor in the architectural composition and
are pleached to a formal line. Usually avenues arranged on the North, East or West
sides of a house are excellent as they give a fine spreading framework of trees as a
background to the mansion, but they should not be allowed to monopolize the entire
landscape, or, by approaching too near to the house, to shut out all views from the
windows or keep it always in shadow, especially on the South side.

The best avenue is that formed of two straight rows of trees, or, if over five hundred

251

THE FORMAL ARRANGEMENT OF TREES.

yards in length, two rows of trees at either side. The length of the avenue and the
scale and style of the architecture which it graces will decide the variety of tree to be
planted, and regulate the width and distance apart. For an ordinary avenue of about
a hundred yards in length, fern-leaved beech, ilex or other trees of moderate size would
be most suitable, the distance between the lines of trees being not less than twelve
paces, and the trees in the rows eight paces apart. For an avenue of five hundred
yards, the trees might be of stronger growth, such as elm, lime, sycamore or chestnut,
placed ten paces apart in the rows, the latter being from fifteen to twenty paces apart.
To obtain an early effect, double the number of trees may be used and planted half
the distance apart in the rows, alternate trees being removed as soon as they begin to
touch each other.

A local note may often be struck by forming an avenue of some tree which is specially
characteristic of the district, especially when the tree adopted is one not usually chosen
for this purpose, but is known to thrive particularly well in the locality. Exceptional
trees may also be used with great effect in exceptional circumstances such as the avenue
of Cedrus Deodara, at Linton Park, Maidstone.

Woodland
glades.

Pleached
walks.

FIG. 321.

Where the ground on which the avenue is to be formed is at a much lower level
than the floor of the house, spreading low-growing fern-leaved beech would, after twenty
years' growth, have a pleasing effect when viewed from above.

In forming a new domain in wooded country, the effect of a series of grass avenues
may often be obtained by careful and discriminate clearances such as those shown in
illustrations Nos. 155 and 156. The rough ground is carefully made up and either
turfed or sown down and hedges provided on either side, young trees being planted, so
that very soon, new and old together form a pleasing vista.

Besides the avenues of full-grown forest trees, suitable only for use with imposing
architecture, there are many other arrangements of greenery which partake of the same
nature but which are useful where a large avenue would be out of place. The first of
these is the pleached lime walk, of which examples may be found in many old gardens
and which has always been a favourite device of the artist gardener both in this country
and on the Continent. It forms a useful and beautiful feature in the garden and may
be said to bear the same relative scale to it that the avenue bears to the park. While
the latter, however, is a symmetrical arrangement of trees which individually are allowed
to grow naturally, the former is not only planted in a formal manner but is afterwards
trained and trimmed to a symmetrical design and kept strictly in scale with its surround-

252

FIG. 322.

THE FORMAL ARRANGEMENT OF TREES.

ings, as shown in the accompanying illustrations (111. Nos. 325 and 326). Owing to the
possibility of keeping the pleached trees clipped to a definite size, the alley may be
adapted to almost any position or shape, and, indeed, may be used in almost any case
where a pergola would be suitable but where its expense is considered prohibitive.

Another avenue-like arrangement which may be usefully employed in almost every Groves of
garden is the grove of small trees. A very usual form, and one which has a very small trees.
prim appearance suited to use in the formal garden,
is that provided by a double row of mop-headed
acacia, which are perfectly hardy in a great many
parts of England, but which seldom thrive in the
northern counties of Scotland. Many othe,r trees may,
of course, be used, and some of our most attractive
flowering species are eminently suitable, such as the
mountain ash or rowan, snowy Mespilus, thorns, the

Siberian and John Downie crabs, almond, the double-flowering and common cherry and
Prunus Pissardi. Some foliage trees, too, are very useful, such as fern-leaved beech,
cut-leaved alder and several of the maples, the two last, and also the lime and
Turkey oak, being capable of being trimmed to any size. For groves or alleys which
are to be used in the Winter, tall pyramidal-headed Portugal laurels, especially the
small-leaved variety, sweet bays, bay-leaved and golden queen hollies on long clean

stems are suitable, and should be arranged to run
outwards from the South front of the house, i.e.,
running North and South so as to be sunny and
sheltered from East winds. Such groves were often
planted in old gardens and might be added to scores
of existing ones.

It adds considerably to the effect of a grove if it
can be made to terminate in some architectural feature,
such as a sheltered seat or summer-house, or when the

walk is to continue beyond the end of the colonnade, by an arrangement of seats under
an arbour covered with climbers, as shown in illustration No. 322. It is, however, much
better if a summer-house can be arranged to close the vista, and the connecting walks
be made to join at right angles, as in illustration No. 323. The space between the
rows of trees may be arranged as a grass walk or as a gravelled path with grass on
either side (111. No. 324) ; the former being the more artistic while the latter is more
serviceable and easier to keep in order. A better
but more expensive method is to have a paved walk,
with the same arrangement of trees. In spacing out
the trees, grass, hedges and walks, due regard should
be paid to the character of the trees to be planted.
Thus if thorn or crab are to be used, the distance
between the hedges should not be less than twenty-
five feet, the width of the walk being not less than

six feet. Grass looks extremely well at the sides if properly trimmed, but it should be
kept clear of each hedge by at least nine inches, and a small circular soil bed should be
formed round each tree. If, as the trees grow larger and produce more shade and
drip, the grass becomes thin and impoverished, a kerb may be put at each side of
the walk and the space previouly occupied by grass be planted with St. John's Wort,
Rhus racemosa, Gaultheria Shallon, G. procumbens, Vinca, or common Irish ivy.
St. John's Wort and the various Vincse of which the common periwinkle is one, are
the most effective of these shade-loving plants for the purpose.

FIG. 323.

253

THE FORMAL ARRANGEMENT OF TREES.

FIG. 325. — THE LIME WALK, TRINITY COLLEGE, OXFORD (WINTER)

FIG. 326. — THE LIME WALK, TRINITY COLLEGE, OXFORD (SUMMER).

254

FIG. 327.

THE FORMAL ARRANGEMENT OF TREES.

Yet another formal arrangement very similar to the last is the yew alley or bower Bower
walk which should be found in every garden of moderate dimensions, whether formally walks.
or informally planned. Probably the best known of the old examples is the " Dark
Arbour " at Melbourne Hall, Derbyshire, and such scale and perfect arching must always
be the result of many years of careful clipping and training, but nevertheless a good
effect can be obtained in reasonable time if a start is made with large plants under
favourable conditions. These walks can often be arranged where a grove or ordinary
pleached alley would not be successful. They give sufficient seclusion from without
and yet keep open the garden vistas within, affording shade from burning sun or
sufficient protection to give an impression of shelter when winds are boisterous.

Those who have studied the architectural drawings Formal
exhibited at the Royal Academy during recent years hedges.
must have been struck with the number of designs in
which trimmed hedges form part of the scheme, some
of them being largely dependent on the hedges for
their interest. Their definite lines and the accom-
panying walks assist the architectural groupings and
furnish an extended base to the main building ; they

impart an idea of shelter in most weathers and suggest screen for half-hardy flowers.
They do more than this however, for they emphasize the varying colour and form
values of haphazard picturesque groupings of foliage and give the necessary contrast,
binding the whole together by the strong sweeping line which they present.

In the modern garden, however, hedges are seldom recognized as possessing any
artistic qualities. Occasionally, a trim, compact hedge may be met with, dividing the
kitchen garden from the pleasure grounds, or as a screen to back premises, but both its
planning and treatment, or rather lack of distinctive treatment, make it obvious that
it is merely considered as the lesser of two evils — a brick wall or a hedge — and that
the owner, being unable to
bear either the idea or the
cost of the former, has
adopted the latter. No at-
titude could be more disas-
trous to good garden design,
and with the wealth of old
examples which escaped the
general destruction which
befell the beautiful old for-
mal gardens in the early-
Victorian era, there can be

FIG. 328.

no excuse for the purely utilitarian treatment of these aesthetic factors. The wonderful
hedges at Holm Lacy show what can be accomplished by the use of green fences, while
the well-known green arches at Broom Hall, Norfolk, suggest many arrangements which
may be used where an ordinary hedge would give too shut in an appearance.

As a rule, the simpler forms of clipped hedge are most satisfactory, because they Design of
express their purpose without pretence and are much more likely to be kept in shape ygw hedges.
than those requiring great skill in clipping, but as simplicity may be expressed in many
ways, there is no reason why there should be any lack of variety. Even a hedge
bounded entirely by straight lines may be diversified in many ways, by the ordinary
square crenellations or by pilaster projections arranged at intervals of about twenty feet,
or to mark the sides of an opening made to admit a pathway. There is also the usual
form of straight " jump " or alteration in height made to meet the fall of the ground or

255

Objections
to hedges
considered.

FIG. 329.

FIG. 330.

FIG. 331.

FIG. 332.

THE FORMAL ARRANGEMENT OF TREES.

allow of a few feet of higher hedge against a building (111. No. 327). To these modes
of treatment may be added several which are not quite so simple, such as the raised
semicircular " rounds," as shown in illustration No. 328, while the reverse of this
treatment, or a series of sweeping hollows cut out of the level top of the hedge, with
short level portions left between every hollow and the next, though difficult to trim
correctly, is most effective where a beautiful expanse of distant hill and valley is framed
in the semicircular openings. Either of these useful shapes may be further elaborated,

should the surroundings call for it, by
the addition of pilasters between each
two rounds; or these again may be sur-
mounted by heads clipped to a ball
shape or half ball, with or without
whorls below, or to the shape of sugar-
loaf finials.

Most of these arrangements demand that the hedge shall be trimmed perfectly
square in section, i.e., with vertical sides and a flat top; but this is not always the best
section for ensuring a strong hardy growth. The nurseryman and forester, on the one
hand, and the architect on the other have completely different views on this matter.
Both the former would keep the hedges wide at the bottom and narrow at the top, as
shown in section in illustration No. 329, because hedges so trimmed make strong lower
branches, and a dense, close bottom is obtained. Architects however, from artistic
motives, generally prefer hedges trimmed square on the top (111. No. 330), and the
gardener usually enlarges upon this by allowing the top to over-hang, as in illustration
No. 331, with the result that the hedge gets poor and open at the bottom. The
pointed section preferred by foresters (111. No. 332) does not look so prim as the square
shape, but for practical reasons is undoubtedly the best. By a little care, however, the
advantages of the one shape may be combined with the primness of the other, by
keeping the hedge pointed while young, and when a good strong bottom has matured,
by gradually allowing the top to grow outwards until it can be trimmed square.

Many gardeners who, in most things connected with their craft, are excellent men,

have an unwarrantable

dislike to hedges, which

they allege rob the soil

of nutriment and harbour

every known garden pest,

making successful flower

growing impossible, or at

the best, disappointing.

While it is true that trees

and shrubs harbour pests,

the idea that they make

flower gardening impossible or even difficult is "altogether erroneous. A bed of lettuces
in the middle of a fifty-acre field, half a mile removed from hedges, would receive greater
attention from these pests than a whole flower garden with hedges and box edging covering
half the ground. Granted, however, that there is some truth in the gardeners' contention,
and add to it the further objection that the roots of the hedges absorb the nutriment
from the soil, the shelter which they give to the plants is an excellent compensation
for these drawbacks. When the necessary outlay can be afforded, the impoverishment
of the borders may be completely prevented by building a wall some three feet deep
into the ground between the hedge and the border, its top being level with the ground,
as shown in the first sketch (111. No. 333). Where this plan is too costly, it is

FIG. 333.

FIG. 334.

256

THE FORMAL ARRANGEMENT OF TREES.

advisable to have a grass walk, as broad as possible, between the hedge and border, as
shown in the second sketch (111. No. 334).

The number of different trees or shrubs which may be used for forming clipped Materials
hedges is very large. There is no doubt, however, of the pre-eminence of yew for this available
purpose, wherever the conditions are at all normal. Not only has it the advantage of f°r hedges.
. possessing the sentiment which must inevitably cling round the material from which
the trim hedges of the old-fashioned English garden were formed, but there is something
in its habit which gives it a quiet homelike appearance which is unattainable in other
materials, and which is so obvious in the accompanying photographs of the gardens at
Levens Hall (111. Nos. 336 and 337), while its colour is an ideal shade against which to
display the brilliant hues and bold foliage of the old-fashioned hardy perennials. Where
yew is not used, the best and most permanent evergreen hedges are formed by holly,
tree box, Cotoneaster macrophylla, C. Simonsii, C. buxae folia, Ligustrum ovalifolium,
(oval-leaved privet) or sweet briar. Privet is practically evergreen and, in fact, entirely
so in mild winters when the old leaves remain until the new ones push forth. Sweet
briar is really deciduous but, as the stems are of a bright green colour, it may almost
be considered as an evergreen. There are also numerous varieties of Arborvitae, Cupressi,
Retinosporae and Juniperi, nearly all of which stand trimming while the several
varieties of Laurus, Cerasus laurocerasus, and C. rotundifolia are useful. Even Scotch and
spruce fir, when grown under favourable conditions, form most excellent hedges. In some
parts of Scotland, particularly in Aber-
deenshire, the former tree is largely used
for hedges of fields lying in exposed
positions, and that they will stand trim-
ming is shown in the forests along the
Dee-side, where thousands of them may
be seen which have been trimmed into
dwarf symmetrical bushes by the deer.

The best materials for deciduous
hedges are undoubtedly beech, hornbeam,
thorn and myrobella plum. Of these

the most suitable are beech and hornbeam, and the latter is probably the best of all
deciduous hedging plants for use in the garden.

A very economical and effective fence between small gardens and the highway may
be made by planting a prim hedge, say of privet, behind plain railings, and trimming
the former a few inches above the top of the latter. In this way effective use may
even be made of that otherwise unaesthetic material known as unclimbable iron fencing,
as shown in the sketch (111. No. 335).

Most of the hedging plants named above may be obtained from good nurseries in
almost any size and in some cases a nurseryman will sell the half-matured hedges divid-
ing his nursery quarters. When an already well-grown hedge is to be transplanted, it
should be prepared for lifting at least six months before it is required. The best plan
is to purchase in the early Spring and prepare the plants by close root pruning and
then remove in the Autumn. Where there is no hurry, however, it is better to start
with small plants, as they make more perfect hedges than larger transplantations, which
are liable to lose their lower branches.

For formal pleasaunces or the more decoratively treated portions of the gardens,
there are very few positions where a hedge composed of more than one variety of tree
could be successful, unless a privet hedge is planted between the garden and home park,
when thorn may be inserted to keep back cattle, but, in the home park or even in the
wild garden, delightful effects may be obtained by mixing two different species. Thus,

ft™

FIG. 335.

257

THE FORMAL ARRANGEMENT OF TREES.

FIG. 336. — THE LADIES' GARDEN, LEVENS HALL.

FIG- 337- —HERBACEOUS BORDER IN THE LADIES GARDEN, LEVENS HALL.

Hedges of
more than
one species,
of tree.

Planting

thorn

hedges.

FIG. 338.

THE FORMAL ARRANGEMENT OF TREES.

privet and thorn, privet and hornbeam, holly and hornbeam, hornbeam and thorn are
all suitable, while beech and holly together make one of the most delightful combinations
possible in the Winter months, for the beech, when clipped, retains bright russet-coloured
leaves until the Spring, and the combination of these with the dark rich green of the holly,
backed up possibly by a blue misty distance or a carpet of snow with its delicate half-
tints, provides a feast of colour at a time when Nature is generally rather drab, which
appeals vividly to the trained colour sense of the landscape painter.

To form the ordinary white thorn or quick hedges, the plants should be bought
when a foot or fifteen inches high, and placed in double rows about five inches apart
any time from November to March. The following April they should be cut down to
three inches above the ground, and after-
wards, as the growth permits, trimmed to
the desired shape, after which they should
be kept annually trimmed. It cannot be too
strenuoush' insisted upon that the ground
must be trenched and cleaned before plant-
ing, and nettles, noxious weeds and long
grass must be systematically kept under as
they shut out light and air from the stems,
and harbour pests.

The accompanying sketch (111. No. 338),
shows such a hedge on a cop of earth with
the usual ditch at one side. Whether a

raised cop is possible or not, some sort of a temporary fence should be provided to
prevent the young hedge from being damaged by cattle, and in very exposed positions
wattle hurdles will be best, as they will provide shelter from keen winds for the young
and tender plants.

Openings through clipped hedges may, by a little contrivance, be made very effective,
as, when several arches cross a walk one behind the other, as at Alton Towers,
Staffordshire, or where a single or double continuous arcade of clipped arches runs along-
side or on either side of a walk, making a many arched bridge of greenery such as that
at Broom Hall already referred to, or, more beautiful still, because more quaint, the
similar arrangement at Cleeve Prior. The shadow effects thrown on the surrounding
ground are very fine, but the shelter, which is the chief use of a hedge, is partially
destroyed, while, unless further provision is made to prevent them, draughts sweep under
these arches and make it difficult to grow flowers successfully in their immediate vicinity.
To attain any measure of success in growing and trimming compact arches means time
and care, and probably the aid of a wood or iron framework will be necessary to train
the wayward branches.

Topiary, which is such a typical feature of the old English garden, suffers now-a- Topiary.
days, from the absurd uses to which it is put, thus bringing the whole art into ridicule.
Instead of an orderly arrangement of trees clipped to designs which bear some relation to
their arrangement and surroundings, we have a heterogeneous collection of wild beasts,
ships, peacocks, balloons and, worse still, arm chairs which cannot be sat upon and
which are all the more disappointing if placed where a real seat would be welcome.

As a typical example of the right application of topiary we may instance the very
usual use of a yew arch over a little white painted gate opening on to a cottage
garden, the whole surmounted by a pair of doves, emblematic of domestic felicity, or
the perpetual reminder shown in illustration No. 340, which the writer came across in
another cottage garden.

Simple forms are always best, the raised ridges shown in illustration No. 339 would

Treatment
of openings
in hedges.

259

THE FORMAL ARRANGEMENT OF TREES.

Trees for
clipping.

FIG. 339.

prove much more effective than the elaborate cones, obelisks, columns, spheres, spirals,
domes, bottles and corkscrews, canisters, and so forth, of which we have too great a
profusion. The shapes adopted should be complementary to the existing lines. Where,
as at Blickling, there is an abundance of erect-growing conifers, and^ upright lines
predominate, perfectly flat-topped beds of yew are in keeping, but where, on the
contrary, there are a number of horizontal lines and flat surfaces, as at Montacute, the

long lines of obelisk-shaped yews are equally effective.
The requirements of every garden cannot, of course, be
so easily gauged or dogmatically determined as in these
cases, nor is this desirable, as monotony would be sure
to result. There is ample scope for the exercise of
ingenuity in this direction which leaves no excuse for the
wearisome repetition of old shapes. If the surroundings
fail to suggest some new and simple form, incentives
may be gleaned from old cottage gardens, unless shrubs
which have naturally a decidedly formal shape will fulfil
all requirements.

While there are many trees which will stand clipping
to artificial shapes, box and yew stand unequalled for the
purpose, and nearly all the clipped shrubs in this country
are either in one or the other of these materials or in
holly. Box is best where dwarf clipped shrubs are
required, while taller pyramids and cones are better in

yew or holly. The numerous small leaves and branches so compactly placed allow of
its being trimmed to almost any shape, which it will retain long after clipping, and it
has also the advantages of being one of the longest lived shrubs we possess, and of
thriving in most soils and atmospheres. In addition to the common kind, there is
the Handsworth box, an effective variety with a beautiful blue-green sheen, and also
the golden box, which looks pretty when trained to a dwarf cone.

The best variety of yew is undoubt- __ __,
edly the common one, Taxus baccata,
but there are others almost equally ser-
viceable for clipping. Taxus elegantissima
aurea can be obtained trimmed into many
shapes, such as obelisks, mole hills, cubes
and pyramids. Standards may also be
obtained consisting of mushroom-shaped
heads of this tree grafted on to Irish
yew, the heads, with their bright golden
colour, contrasting admirably with the
dark green of the Irish yew below (111.
No. 341). Another variety deserving
of more attention than is usually be-
stowed upon it is the Taxus adpressa
stricta, which is somewhat darker than
the common variety and more compact in habit. It makes a beautiful pyramid and
requires little attention.

Of hollies, the common variety is the best, and for trimming to some shapes is
the only one possible. The golden queen, Ilex Aquifolium albo-marginatum, I. minorca
and several others make capital pyramids, while Waterer's golden holly, is a slow-growing
and compact, but most useful variety.

FIG. 340.

260

THE FORMAL ARRANGEMENT OF TREES.

Those who have seen the terrace gardens at Trentham, will remember the effective
standard Portugal laurels in tubs arranged at regular intervals along the main walks ;
in such a form this hardy shrub always appears to advantage, while the small-leaved
variety, Cerasus lusitanica myrtifolia is excellent for clipping either as a standard or in
hedges. Few people realize how fine a pyramid can be made out of the

Cerasus Laurocerasus rotundifolia /^'"^^^ when skilfully pruned. Although it
does not last more than ten or twelve '(}''' 'j^TBI years, as it becomes bare and a
tangle of small sticks under close ajk trimming, a shrub so accommodating

and inexpensive, and which can be 'f fl so easily replaced, is often useful.

For clipping, no deciduous tree i.'i Jj is so effective as the little known

fern-leaved beech, which stands severe \jjji cutting and trimming. The light pea

green of the foliage in Spring is _ JlL^aa^ delightful, and in the Summer, when
it has assumed more sober hues, i.-I(!. 34I. there is much to admire in the
beautiful narrow serrated leaves and its peculiarly neat habit. White or

pink thorns, which will also, of course, stand clipping, are inferior in effect to the fern-
leaved beech, but are often useful.

Clipped trees are not, however, invariably essential to a formal scheme, for there Trees of
are conifers and shrubs which have naturally a decidedly symmetrical outline. The naturally
best is unquestionably the Irish yew, which together with the golden variety, Taxus lorma''
hibernica aurea will suit most positions and requirements. They form excellent supports a l '
to steps, or to flank the doorway to a porch or garden house, and are also useful when
planted at intervals in front of a long bare wall, to break up its surface, and flourish
in most soils, positions and atmosphere. Another elegant conical-shaped conifer,
Cupressus Frazeri, distinguished by its neat habit and beautiful glaucous foliage, may, in
districts favourable to conifers, or on light sandy soils, be even more effective than the
Irish yew. C. erecta viridis is very good when in a young state but usually needs
renewal every five or six years, as it gets very bare in its lower branches. Juniperus
hibernica and J. chinensis are also both very effective conifers of upright growth and
good colour. With a little knifing, the following may also be kept in good shape,
viz : —Cupressus Lawsoniana, C. lutea and C. argentea, Retinospora squarrosa, R. plumosa
and R. plumosa aurea, which are all more or less upright in growth. Among the
dwarf varieties may be mentioned Cupressus Lawsoniana nana, Chamscyparis ericoides,
C. lutea nana, C. leptoclada, C. filicoides and C. Lycopoides. Biota elegans is a
charming dwarf-growing conifer with a pleasing bronze shade of colour. Cupressus
macrocarpa and its golden variety are two of the best conifers for the formal garden
and are especially useful near the seaside. They are of rapid growth, and although
not neat in habit when allowed to grow naturally, may be trimmed to a pyramidal form
of either round or square sections, and specimens ten or twelve feet in height may be
grown in four years. Sweet bays, which may be obtained either as pyramids or
mop-headed, also harmonize well with a formal treatment, as do mop-headed Acacias.

Few deciduous shrubs having variegated foliage equal Cornus elegantissima in colour.
It is much superior in both habit and hardiness to the Acer japonica variegata, and,
whether used as a bush among conifers, as a standard at intervals along the sides of
a walk, or as a pyramid in the formal garden, is to be commended. Certain Japanese
Acers make charming standards, but unfortunately succeed only in very mild and sheltered
localities. Where, however, gardens are favourably situated, and the soil is light and
sandy, nothing could be more charming ; they resent clipping, but may be kept shapely
by simply trimming straggling branches. Brooms are among the hardiest varieties of
flowering shrubs sufficiently neat in habit to warrant their inclusion in the formal garden,
and some of them, when grafted on the common laburnum, make excellent standards.
The best varieties are Genista pallida, G. p. praecox, and G. alba. The golden or

261

THE FORMAL ARRANGEMENT OF TREES.

white balls of colour which these plants produce in Spring, and the fragrance of their
blossoms are sufficient in themselves to make any garden attractive for the time being.
Dwarf Dwarf topiary work stands in a class by itself and is quite distinct from the ordinary

topiary. topiary, though it often accompanies it. It consists of patterns, generally repeating

scrolls, worked out in lines of dwarf box, trimmed very close and on a background of
gravel. While there are examples which show that this class of gardening is capable
of great development, its usual application is the formation of a garden in a position
which is too cold, damp and over-shadowed for successful flower growing, and which
the owner was at a loss what to do with. Under such circumstances it is not surprising
that the vision called up to the mind by the dwarf topiary garden is a somewhat
depressing place, shut in on all sides, and where even the hardy dwarf box shows
evident traces of a hard struggle for existence. If, on the other hand, dwarf topiary
work is used for decoration of the most formal terrace of all, between the architecture
and the first flower garden, it may be most effective, but even here it must be carried
out on a somewhat large scale or it is apt to look a little out of place. It is essentially
a feature suited to large gardens.

Filbert Before closing the subject of formal trees, the old-fashioned filbert walks must be

walks. mentioned. Not only are these very pleasing features with their fresh green foliage

and cool shade, but are productive also and are content with the sustenence to be derived
from mere garden rubbish, or almost any stony barren soil. They were welcome
inclusions in the old gardens and were usually planted on the outer fringe of the
more formal portion, where they helped artistically to merge the trim garden into the
landscape beyond. Of late years, filberts have been neglected, but results such as
those read of in old gardening books may of course, still be secured. Growers of cob
and filbert nuts are agreed that much better results can be obtained by trimming or
pruning the branches than by shearing or pleaching, while the effect is equally good,
if care be exercised in the knifing. By knifing is meant the trimming of branches
separately by secateurs or garden knife as opposed to shearing or clipping. Cob and
filbert nuts look most effective when planted one foot six inches to two feet apart in
the rows, but the heaviest crops are secured by planting not less than four feet six
inches to five feet apart.

262

FIG. 342. — PLANTING AT LEWISTON MANOR, DORCHESTER.

FIG 343- — PLANTING BY THE LAKE, "WOOD," DEVONSHIRE.

TNG* LANDS
EFFECT

CHAPTER XVII.

f\ »

As time goes on and the appreciation of the garden grows greater and more

widespread, especially for the quaintness and studied charm of the old English
formal parterre, it is more and more evident that the revival of interest in the one
direction has been attained at the expense of others, for, while the garden makers of a
hundred years ago could see no beauty in any form of gardening which was not a direct
attempt at imitation of Nature, they planted all those magnificent plantations and
groves of trees which we are enjoying to-day, and which, unless a sudden change of
policy takes place throughout the country, of which there are at present no signs
whatever, posterity will be entirely bereft.

It is not so much that we are not planting, as that we are not giving that care
and thought to the creation of the picturesque which animated the planters of past
generations. This is, in a measure, accounted for by the swing of the pendulum from
the extremes which a too zealous and undiscriminating desire to reproduce the beauties
and immensities of Nature in half an acre of ground led the old gardeners into. Their
eccentricities in other directions have discredited their only great and really successful
work, and now it would seem that we are about to run to the other extreme and admire
only that which is formal, and the immediate accompaniment of architecture.

Another cause of this state of things would seem to be a lack of that educated
imagination which will allow us to see, in the mind's eye, the ultimate effect of a newly
formed plantation. It is quite easy to predict the result when an avenue of young
horse chestnuts shall have reached maturity, and so we plant in straight lines, but to
grasp the meaning of a new mass of planting is a totally different matter, and involves
a careful estimation of probabilities. In the young and newly planted group of trees,
the eye is first attracted by the nursers and undergrowths which are already bushy in
habit and have a substantial appearance. The very weedy and unattractive-looking
saplings which will some day give the whole its effect are not by any means things of
beauty, and the Writer has even been asked by disgusted clients why such " toothpicks "
and " gaspipes " were included, when the small hollies, mahonia, privets and so on gave
so much greater immediate result. It would seem as though many people had no power
of seeing anything beyond the status quo, and thus we get a great deal of unintelligent
criticism of the planting of modern gardens, " like a tea garden with a lot of little
shrubs."

With the planter of a hundred years ago this was not the case. He was content
that his work should be judged, very largely, by posterity, consequently his designs were so
framed that they would develop as the trees he planted so lavishly reached maturity.
He had been to Nature and studied her methods, had noted how in mass as a part of
the landscape, and in detail as one examined each portion, her work in the woodland was

Neglect of

picturesque

planting.

Lack of
imagina-
tion in
modern
planting.

265

PLANTING FOR LANDSCAPE EFFECT.

unsurpassable, and that in his own craft, if it was to be successful, he must be content,
like Nature, to work for many years, with sustained and unflagging effort, taking her
for his guide at every point and studying her excellences.

It would be impossible, within the compass of one short chapter, to trace to their
sources all the pleasures to be derived from woodland .and forest. It is even impossible
to examine in detail Nature's methods in their production, and we can only point the
way to these ends, leaving the reader to apply the broad principles indicated.

Choice of The first practical question the planter must face is — Of what materials shall the

material for plantations for a given site be composed ? This will need fresh consideration in every

planting. case, for what will thrive in one instance will not in another ; and, again, much will

depend on the scale of the planting. With regard to the first of these considerations,

the planter cannot do better than rely on his observation of what trees are found to

succeed well in the immediate neighbourhood, coupled with the information he can gain by

a visit to the local nurseries, and by talking to the nurseryman. Due allowance will,

however, have to be
made for the tendency
of the professional
arboriculturalist to
disparage that which is
common, and to admire
only that which is rare
and difficult .to obtain.
That a thing is common,
other things being equal,
should predispose us to
plant it, for it is sure to
succeed, and a commoner
variety of tree growing
luxuriantly must always
give infinitely greater
pleasure than a
rarer one desperately
struggling for exist-
ence against adverse
conditions. Too many
gardens are spoiled by
this defect.

This local information is most important, for, if we are tempted to generalize or
work by rule, we may be sadly undeceived later on. Thus, in the English Lake District,
where, to quote a local saying, " if you thrust in your walking stick it will sprout,"
we might be tempted to imagine that there would be no danger in planting such a
common and hardy-looking subject as Euonymus japonica, which, however, we should find
would not do at all well. On the other hand, we shall discover, growing up the wall of
the Scotch crofter's cottage, a delicate-looking and beautiful climber, the Tropffiolum
speciosum, or flame flower, which is exactly the kind of thing which we should expect
to benefit by shelter and careful cultivation, and yet large sums of money have been
spent in the vain endeavour to make it grow in some positions in the South of England.
This careful study of local conditions has another aspect, for by this means we shall
preserve the individuality of the locality. Thus, Groombridge, in Kent is noted for its
holm oaks (Quercus Ilex), and North Hertfordshire for the box trees, which sometimes
reach a height of twenty feet, and the most should be made of such local factors.

FIG. 344. — POPLARS IN THEIR NATIVE ENVIRONMENT.

266

PLANTING FOR LANDSCAPE EFFECT.

There are, however, several broad generalizations which may be applied carefully to
all cases. Thus it is obvious that very bizarre-looking things, such as the monkey-puzzle
tree (Araucaria imbricata), will clash with all their surroundings, and should never be
employed except in collections of arboricultural curiosities. Again, geological conditions will
have their determining influence, for there are many things that will thrive on sandstone
which will die on lime or chalk, such as rhododendrons and American shrubs, while
other things, such as holm oaks, prefer it. Then, at the seaside, we shall become aware
that our choice is very limited, and we shall probably plant mountain ash, beech, oak
and holly extensively, for lack of other large trees that will thrive. A smoky neighbour-
hood will, again limit our material very much, and we shall have to rely for many of
our effects on two or three kinds, such as the London plane and the various poplars,
with dogwoods, elders and rhododendrons for undergrowths. Such a neighbourhood would
be fatal to many other trees, such as Scotch firs, which one often finds planted where they
cannot possibly succeed, under the impression, no doubt, that, as they are hardy enough
to brave a Northern winter on an exposed site, they will succeed anywhere. The portion
of the British Isles in
which our planting is
to be done will also
enable the experienced
planter to eliminate
unsuitable subjects
from his list of possible
useful varieties, for
there are many trees
which, while they will
luxuriate in a sheltered
position in the Thames
valley, would die at
once in the Northern
Counties.

The amount and
depth of soil available
is also important.
Thus ash and syca-
more require a good
soil, while pines, oak

and beech are less exacting. Birch will grow with very little soil indeed and, in English
mountain scenery, may often be seen gracing the face of a barren precipice, where it
grows out of a cleft in the rock only big enough to take the stem.

This brings us to another point arising directly out of these considerations, and this
is that, by planting those species which are indigenous, we shall obtain effects which
harmonize well with the local scenery. Those trees that possess a habit helpful in the
composition of a scene will invariably be found to accompany it. The instance just
quoted of the silver birch adorning the rugged precipice with its graceful feathery foliage
is a case in point, and there are many others, such as the Scotch fir standing boldly
out against the sky, its dark rich foliage and red trunk harmonizing or contrasting
pleasingly with the purple heather and bright orange soil of broken banks, as we see
it in perfection in Surrey, the rich evergreen of the holm oak and yews against white
chalk cliffs, the graceful willow hanging over and reflected in pools of still water, and
the tall Lombardy poplar, with its strongly marked vertical habit, contrasting with the
prevailing horizontal lines in sky and landscape so characteristic of flat marshy districts,

Aids to
choice of
material.

FIG. 345. — POPLARS IX UNCONGENIAL SURROUNDINGS.

Obtaining

harmonious

effects.

267

PLANTING FOR LANDSCAPE EFFECT.

Scale and
mass in
planting.

Wrong
views of
scale.

which are their natural home. The result of disregarding these considerations is well
shown in illustration No. 345, which gives a view of a row of poplars divorced from
the plain to which they belong, and placed among hills. The straight lines clash
horribly with all the undulations and variations of the scene, whereas we have only
to remember the works of contemporary French artists who have painted the pastoral
scenery of the great French plain, to be reminded how effective such a row may be
in its proper place, giving a much-needed line receding from the eye, whereas all the
others on an open level plain run directly across the line of sight. The effect in the
illustration just referred to would be still worse if it were not for the horizontal lines
which water always provides. Contrast this with the other photograph given on the
same page, in which there are no hills to compete with the vertical lines of the poplars,
but, instead, still water emphasizing them. Nothing could be more delightful, and a
careful comparison of the two may teach us much.

Having thus demonstrated how suitability to environment will influence our planting,
there still remains the question of scale, which will also help to determine what we shall
plant. This question may be considered in two ways, first as to the size of individual trees
when fully grown, and secondly as to the extent of each plantation. Both aspects will, of
course, bear a direct relation to the size of the domain which is to be planted, for, in one
place, the slope of a hillside may be clothed with timber for half a mile or more in one
mass, while in another there may be no opportunity for anything beyond a plantation,
say, fifty yards across. Apart from this, however, the proximity of architectural features
will have a controlling influence, for it is obvious that planting on a formal balustraded
terrace would have to be completely subordinated to the general architectural scheme.

In the majority of cases, but by no means in all, architecture is much helped by a
background or flanking masses of foliage, and even where the building is small, such
foliage masses can hardly be on too large a scale, for there is no sense of lack of propor-
tion felt on beholding even the tiniest cottage backed up, or even almost overhung by
towering elms or pines. Instead, the greater the contrast, the more we are impressed
with a sense of protection afforded from Winter storms and Summer heat.

In the case of a classically detailed mansion this does not apply to the same extent.
Here there will have to be a definite relationship between the scale" of the main fa£ade
and the foliage back-ground, while in some instances, as in the case of Lees Court,
Faversham (111. No. 128), the severely symmetrical arrangement would not allow of
competing foliage.

Apart, however, from their use as a background for architecture, we shall find it the
rule that the larger trees and more extensive plantations shall be kept at a considerable
distance from the main building, and that, the nearer we approach to it, the smaller
the scale of plant employed should be. Even a broad grass avenue of forest trees,
leading the eye away from the house to the distant boundary, should have its com-
mencement at a sufficient distance from the mansion, as explained in the chapter dealing
with this subject.

In the days of Capability Brown, the reverse was often done in order to create a
false sense of perspective. The idea was that, by planting larger trees at the near end
of a vista and smaller ones at the other, an appearance of greater distance would be
obtained, especially if, as in many cases,- a summer-house or other erection to a reduced
scale were placed at the far end of the view. The result may have impressed the
spectator with its ingenuity on first beholding it, but the deception would become
wearisome on repetition, and would also completely spoil the view of the house from the
other end of the vista.

Repton, in determining the scale of his plantations, adopted a saner course. His
plan was to provide a number of poles, say ten feet high, which were then held up

268

PLANTING FOR LANDSCAPE EFFECT.

FIG. 346. — GROUP OF OAKS.

vertically by workmen in various positions where planting was proposed, while he walked
about and examined them from every point of view. By imagining a tree or group of
trees the height of the poles, or one, two, three or four times their height, he was
enabled to judge the ultimate effect of planting species which would attain to ten, twenty,
thirty, or forty feet high, and so ensure that nothing would be out of scale from any

point. It is hardly necessary to
point out that, unless some such
method is employed, trees may be
in scale from one point of view
which will appear quite out of
proportion from another.

Suitability and scale having
very largely determined what we
shall plant, it now remains to
consider the disposition of the
plantations, their size and outline,
and the arrangement of the various
trees and undergrowths in each.

As we approach the individual
task we shall almost invariably
find that there are three primary
considerations which will help to
determine the answers to all these
questions. These are, the need for shelter for the residence and flower gardens, the
disposition of existing trees which must be incorporated with the new work, and the
need for screening unsightly objects or giving privacy where the grounds are overlooked
from public places. If we add to these three primary considerations the rule for planting
which Repton so well enunciated
when he said that, to make a
garden successful, one should
"plant the hills and flood
the hollows," we shall probably
find that the question of the
disposition of the plantations is
very largely solved, and their extent
also within very narrow limits.
That to plant the higher ground
and leave the lower as open glades,
with or without water, is the right
thing to do is obvious for by so
doing we increase the apparent
differences of level and give our
trees added height. The value
of a vista down an open valley
between wooded banks is too well
appreciated and too often enforced
by the works of landscape painters to need more than mention, again showing that
this is right. The same course will determine the outline of the plantation, for, where
the hillside throws out a spur, the trees should come forward and emphasize it, and
where there is a bay of lower ground between two spurs, the trees should recede, thus
giving an easy flowing line to the plantation which cannot fail to be pleasing.

Repton's
methods of
judging
scale.

Disposition
of planta-
tions.

FIG. 347. — GROUP OF YOUNG OAKS.

269

PLANTING FOR LANDSCAPE EFFECT.

Outlying Such a plantation of forest trees may often be greatly helped by planting, at

groups suitable points, outlying masses of thorns or other native trees of lesser growth, but this

round large WOrk should be done with extreme care to ensure that such groups have a proper relation

plantations. to tne mam mass an(j are not obtrusive, nor of sufficient size to compete with it. The

greatest care will have to be taken too that they do not obstruct the sweeping lines of

a vista or break the continuity of the greensward. Planting more often fails aesthetically

from this cause than from any other, trees being dotted about on open lawns and

grass glades in an irritating and meaningless manner.

Such outlying groups are particularly useful where the plantations, though probably
originally planted for artistic effect, have been enclosed within a thorn or beech hedge
in order to make better cover for game. Such a hedge cannot but look hard and inci-
sive, and masses of thorn, gorse or broom planted outside it to break its line and conceal
it at those points where it tends to be most intrusive, are invaluable. Along the Dee-

FIG. 348. — GROUP OF LONDON PLANE IN HYDE PARK.

side in Aberdeenshire Nature has effected this arrangement unaided, colonies of self-sown
silver birch flanking the Scotch fir plantations on the hillsides.

Small Besides the large plantation and its outlying spurs, we may have the small group

groups of of timber trees. That these have a distinct charm of their own will be at once seen by
forest trees, reference to the several photographs of such arrangements which are given (111. Nos.
346 to 349). Even where such groups are planted in a symmetrical manner, Nature
achieves a large measure of success in giving them a pleasing outline, as may be seen
from illustration No. 349, but, of course, if they are originally planted more as they
would grow if self sown, a better and more natural effect must result. Repton recom-
mended making a wide hole and planting half-a-dozen trees of one species in it, one
foot apart, and leaving them to fight it out for themselves as to which should take the
lead, and, although to do this in every case would look rather obvious when repeated
indefinitely, still they may be planted near enough together to form one homogene-
ous mass of foliage, and preferably in odd or indivisible numbers to each group, so

270

PLANTING FOR LANDSCAPE EFFECT.

that we may have that greatest of all the charms of natural foliage, balance without
symmetry.

The plan of a portion of the home park at Little Onn Hall, Staffordshire (111. No. Outline.
350), demonstrates how the principles discussed may be applied to an individual instance.
The radiating lines show the angle included in various views which it is the object of
the plantations to frame and emphasize. In this case, as the site is very flat, there
was an opportunity for constructing fine avenues, but for several reasons, the chief of which
was a desire to take advantage of some planting done a few years ago, the method
shown was adopted.
These plantations have
all curved outlines, and
this is the most usual
form, but it is not by
any means necessary
that this should always
be so. While the round
" clump " and the
straight thin " belt,"
which were the stock
forms of plantation a
hundred years ago, are
alike hideous, instances
will arise both in the
garden and park where
any but a straight edge
to a plantation would
be artificial and affected.
In such a case any
stiffness can easily be
prevented by the
arrangement of the
trees, here receding from
the edge and there, with
their branches sweeping
out over the grass or
roadway which borders it.

Having determined
the outlines of the
various plantations and
the general silhouette
of the foliage which it
is desired to obtain
in each instance,

OS PLflNTED

FIG. 349. — GROUP OF NINE ELMS. NATURE'S TRIUMPH OVER A

STIFF ARRANGEMENT.

have now to approach

the arrangement of the

trees and shrubs. Individual species are dealt with in the next chapter, and here we

must confine ourselves to matters of general application, which will help the planter

to decide for himself which of them are suitable in any given case.

There can be no doubt that he who has learnt the one elementary rule that trees Planting in
should be planted in masses of one species and not a large number of different kinds, masses of
has, to a large extent, mastered the theory of planting. In this country it will generally one

271

PLANTING FOR LANDSCAPE EFFECT.

SjAN-SHWNG - ARRANGEMENT sf PLANTATIONS
N • HOME PK- LITTLE -ONN- HALL 5TAfFQRD5HlBLf

i CROUP or oflKi

3 CflSP LtflVCD CLrtS

4 5CflRLCT AflPLC

3COTCH TlR. JILYCR BIRCH

6 WILD CHERRY •

7 nmio ConirtRs «no

DCCIDCOUi TREES

8 Wnrrt

9 PinK THORH5

10 CRflas jortn oownir

LCMBflKDY POPLflM

12 iPflniiH CME5TnuTS

13 JC/1RICT

14 TCRtl LtflVtd BEECH

15 PEWVlnflflT TlrtBER

JCOTCM TIR

16 nORW/IY

17 /*MXCD
comrtRi

FIG. 350.

272

PLANTING FOR LANDSCAPE EFFECT.

be found that those plantations which have been made solely with a view to timber-
growing and for utilitarian purposes, seldom fail to satisfy the aesthetic sense, while
those which are made specially as ornaments are not often completely satisfactory. This
remarkable result is solely the outcome of the fact that the former plantations are made
up of one or at the most two kinds of trees, whereas the latter are an unrestful jumble
of all sorts, mostly too exotic and unusual to harmonize with their surroundings. The
rule laid down is one therefore, which cannot be too strongly insisted upon.

As in architecture and, in fact, in every art, striking effects should be used but
sparingly, and only at the chief points of interest, the great mass being restrained in its
treatment, thus giving added value to them. It is for this reason that, whether in the
garden or park, such subjects as hybrid rhododendrons should not be mixed with other
Spring-flowering shrubs, as they are so striking when in bloom that they will not brook
competition. A long drift of one sort, such as Cunningham's White or the vivid Frederick
Waterer or Cynthia, may be introduced against a background of sober foliage, or of plants
which do not flower till later, but undoubtedly the best way is to treat them as in a
class by themselves and give them a glade remote from the other portions of the grounds,
where they can be visited when in bloom, and where
the monotonous mass of almost black leaves which they
will present for ten months in the year will not be
obtrusive. These and other dark shiny and pulpy-leaved
exotics should be used very sparingly except in the most
formally planted borders of the garden.

The general lines to be followed in arranging a
border in the more ornamental portions of the grounds,
where more of variety is in keeping than would generally
be the case, is shown in illustration No. 351, which is
a reproduction of part of a planting plan prepared by
the Author some years ago for a garden in North Wales.
Illustration No. 352 gives a portion of it to a larger scale,
and on this are marked all the varieties to be planted.
The undergrowths and nursers are indicated by numbers,
and the larger permanent trees by arbitrary signs ; and
this method I have found to be a good one, as it helps
to ensure that every part of the bed receives its proper
proportion of both. Of course in this case, where the
plantation is close to the residence and skirts the carriage drive, large forest trees are
not required, but the general principles of the arrangement would be the same, and
would be similarly indicated, whatever the scale of the planting.

Arrangement is largely a question of careful observation and experience, coupled
with an artistic appreciation of the effect to be sought, and that imagination which will
accompany it and enable the planter to see the final result in his mind's eye from the
outset. Do not let the thought that you are planting for posterity deter you from
making the most of the opportunity in this direction ; at the least you have the
pleasures of anticipation, and, even though you may not live to see the oak sapling a
gnarled and weather-beaten monarch of the forest, it is wonderful what can be
produced in a very short time if large and healthy nursery stock be used to commence
with. Of course it is possible to move trees of any size — in fact, yews mentioned in the
Doomsday Book have been successfully transplanted under the Author's direction, but it
is too expensive and tedious a process to be done on a large scale.

The best advice that can be given to the tyro is to study all those groupings and
arrangements which appeal to his aesthetic sense, and to make copious notes and sketches

FIG. 351.

Restraint.

Example of

ornamental

border.

Rapidly
attained
effect.

273

PLANTING FOR LANDSCAPE EFFECT.

Study of for future use. He will begin by noting how beautiful the white stem of a silver birch

existing looks against a background of Scotch fir, and how the russet leaves of beech scrub and

examples. the dark green of holly give a pleasing contrast in the Winter months, especially when

snow is on the ground, and he will go forward from these most obvious and striking

lessons to note hundreds of factors which will provide useful material for his special work.

| American University students, who take the course in landscape design, are taught

! to make records of the elementals of convincing schemes, roughly drawn to scale by

^means of a rapid military surveying instrument known as the plane table, which is so

Eight and handy as to be capable of being carried anywhere. The distances are carefully

stepped out which will give them with sufficient approximation for the purpose.

Winter This systematic study of existing examples must be carried out at all seasons to be

effects. of any value, for, of course, it is necessary to provide for the Winter as well as for the

Summer effect. This means that we must make a judicious use of conifers and ever-
greens, always remembering, that while the larger plantations in the home park or middle
distance rely for their chief effects almost entirely on form and outline and their relation

DETAILS or FWlTATIOriS ^QL-

IvBY TO DisTfflMiBino tvuas, o

0 iCflR|CT OflKS

x .SILVER BIRCH
'3wctT
DOUBLE fipwf.Rinc CHEKW

JOtlM OOWMIC CRAB

1 3nowv
SCARLET /WLC.S

O TCRn LEAVCB

X CUTLEAVCD SI1VCR OlRCH

D COCIWUR THORMS

FIG. 352.

to the general composition of the view, those close to the house will be more dependent
on colour and detail. Their Winter effects will therefore need special attention, and a
careful and discriminating use must be made of those evergreens and conifers with brightly-
coloured or glaucous foliage, and hardy Winter-flowering varieties. Those bearing brightly-
coloured berries will also be useful, such as Pernettya mucronata, Cotoneaster horizontalis,
C. macrophylla, C. Simmonsi, Berberis stenophylla, B. Darwini, Symphoricarpus racemosus,
Cratsegus Lelandi and Skimmia japonica, while, if there is ample space, mountain ash,
tree thorns, the red and yellow berried hollies, the fire thorn and the cockspur thorn may
also be used.

•

In the park and landscape plantations, those trees which have ever been the joy
plantations. and pride of lovers of English landscape should predominate. The oak, elm, ash, beech,
sycamore and birch are still the trees to choose from for the greater effects, with the
tall Lombardy poplar to break the sky-line at well-selected points, either as a single
specimen rising from behind the other trees or in groups of three. For attendants, and
especially for the margins of the plantations and to skirt woodland paths, we have the

274

PLANTING FOR LANDSCAPE EFFECT.

Qf-

thorn, crab, wild, cherry, willow and spindle tree. For Winter effects we should plant
those evergreens which age picturesquely, such as Scotch fir, cedar of Lebanon, yew and
holly in preference to the youthfully showy spruce firs, Austrian pines, Indian cedars and
Lawson's cypress, which belong to the garden proper, and not the parklands.

In the latter position it is even more necessary than elsewhere to plant in masses
of one sort. Beeches by themselves form a splendid group, as do oak, elm, sycamore,
horse chestnut, Norway maple, cherry, thorn, etc., while the effect of a few Scotch
firs standing on a bluff rocky spur, in both Winter and Summer, is well shown by the
two photographs of Brathay Craggs on the shore of Windermere given in illustrations
Nos. 4 and 5.

When plantations are first formed, it is best to plant quick-growing trees and
undergrowths somewhat thickly amongst the permanent trees, to act as nursers, and
give the former shelter until they are well established. The latter will, of course, be
cut out by degrees, as the permanent subjects need more room for growth and expansion.

If the park is to be grazed by cattle it will be necessary to fence the plantations,
special care being taken that they cannot reach and feed
on yews, as these are a deadly poison, though greedily
eaten by all forms of farm stock. The best fence is that
which is least conspicuous without being flimsy, and, for
most positions, I have seen nothing better than strong
iron hurdles. These may be rendered still more incon-
spicuous by planting outside them hollies and other things
which the cattle will not touch, as described in speaking
of the form the plantation should take. Within the fence,
the trees should not be planted in any regular pattern,
and covert plants, such as yew, holly, dogwood, privet and
mahonia, may be scattered at irregular intervals towards
the margin, and, at times, recede far into the plantation.

The best way to obtain the effect of wild primeval
woodland and avoid all suggestion of artificiality is to
prepare the ground and sow liberally those native trees
which can be raised from seed, replenishing the sowings
every fourth year to atone for the depredations of birds
and vermin. This is of course a very lengthy process, and
often the subsequent thinning, if unskilfully done, will leave a stiffer effect than if the
ground had been planted in the usual way.

Wherever new plantations are to be formed, whether in the garden, park or moorland,
the ground should be properly trenched and prepared.* This may at first sight seem
needless expense, but practical experience of planting both with and without trenching
abundantly proves that the extra cost is far more than compensated for by the greater
rapidity with which the trees and shrubs take root and grow, and the permanent effect
of their appearance which results. Greater care will, of course, be necessary in preparing
beds for choice shrubs in the garden than in the case of those for plantations in the
park, both as regards depth of soil and the amount of peat and manure added ; but
both should be thoroughly trenched. How the surface of the bed should be shaped
is clearly shown by comparing the plan and sections of a small plantation given in
illustration No. 353.

When planting single specimen trees, either in the park or on the lawn, the mistake
is often made of forcing the roots into a hole which is far too deep and narrow. Instead
of this a broad hole should be made and a layer of top-spit from a pasture mixed with

* For a description of trenching, see Chapter XV.

353-

Fencing

park

plantations.

Wild

natural

effects.

Prepara-
tion of
ground for
plantations.

275

Planting
specimen
trees.

Tree

guards.

Arrange-
ments of
the units in
a planta-
tion.

PLANTING FOR LANDSCAPE EFFECT.

a little well-rotted manure (never raw manure) or leaf mould placed in the bottom.
On this the roots of the tree should be spread out in a natural manner, and the stake
to which the tree is to be tied well driven in, while there is no danger of driving it
into the roots as there would be if it is put in as an after- thought. The hole may then
be filled up with the same mixture of turf, mould and manure, and well trodden down,
and, if at all dry, watered freely. The turf may be relaid over the whole of the roots
except for a distance of eighteen inches round the stem, which should be kept clear of
grass until the tree has become thoroughly established.

It is better that the crown of the roots should stand up above the surface a little
than that the stem should be buried. If only a few inches are covered, the tree will
surfer seriously, while, if buried deeply, it will almost certainly die within a few years.
Some trees, such as poplars and willows, form fresh roots if not too deeply buried, but
the majority of other kinds eventually succumb to fungoid attacks between the surface
of the ground and the roots.

In the home park, specimen trees will have to be guarded, and this is best done
by three or four stout posts driven into the ground and connected by rails at a sufficient
distance from the stem to keep cattle from browsing on the smaller twigs. Trees with
pendulous branches sweeping the ground are not, for this reason, suited to park planting.
Instead, those with strong clean stems from eight to ten feet high, with the branches
rising above this height, are to be preferred.

It is impossible to lay down even approximate rules for general application as to
the distances apart at which trees should be planted. While, on the one hand, in the
open country, half-a-dozen beech may monopolize half-an-acre of land, in a smoky
district, a large number of such things as will grow would be necessary to furnish the
same area. Circumstances will differ in every case, and it can only be repeated that
any formality or spottiness in the arrangement should be studiously avoided. It is
related of Robert Marnock that he once horrified an up-to-date forester by taking a
bundle of Scotch firs and throwing them with all his strength broadcast, requesting him
to plant each on the exact spot where it happened to fall. Downing, too, in his book
on landscape gardening says, " A friend of ours at Northampton, who is a most zealous
' planter, related to us a diverting expedient to which he was obliged to resort, in order
' to ensure irregular groups. Busily engaged in arranging plantations of young trees on
" his lawn, he was hastily obliged to leave home, and intrust the planting of the groups
"to some common garden labourers, whose ideas he could not raise to a point sufficiently
" high to appreciate any beauty in plantations, unless made in regular forms and straight
" lines. ' Being well aware,' says our friend, ' that if left to themselves I should find
" all my trees, on my return, in hollow squares or circular clumps, I hastily threw up a
" peck of potatoes into the air, one by one, and directed my workmen to plant a tree
" where every potato fell ! Thus, if I did not attain the maximum of beauty in group-
" ing, I at least had something not so offensive as geometrical figures.' '

This was written when popular taste was suffering the inevitable reaction from
Capability Brown's clumps and belts, and it is impossible to take it literally, but
it points the way to the method on which naturally arranged plantations should be
constructed.

276

U
<

CHAPTER XVIII

The arrangement of plantations, groups and single trees having been dealt with,
and the power they exercise in imparting character to the garden and landscape discussed,
it is now purposed to give a list of the most useful kinds of trees for the various
plantations, with a few descriptive notes, and some indication of the conditions under
which they luxuriate. Before proceeding to the actual lists, there are, however, a few
important considerations, already referred to, which may with advantage be emphasized,
because upon their observance depends, to a large extent, the pleasure derivable from
foliage and woodland scenery.

The following lists do not pretend to any degree of completeness, nor do they include
all trees worthy of a position in the garden or park ; much less it is suggested that
each garden should be planted with the same varieties of trees and shrubs, for the
result would be to reduce their decoration to such a degree of sameness as to create
monotony. Each garden should have individual treatment bestowed upon it, and in
no department is this so necessary as in the choice and arrangement of trees and shrubs.
The lists are, therefore, merely first aids to those about to plant or lay out gardens.

To make the selection of trees and shrubs for various situations more simple, they
are classified so far as possible under several headings, as deciduous trees, hardy conifers,
&c., and the following abbreviations are affixed to those which, in addition to their general
use, are suitable for growing under special conditions, as : — S, trees and shrubs for
seaside planting ; T, for town and suburban gardens ; P, those which thrive best on
peat, or on soil where lime is absent ; U, varieties suitable for under-growths and
planting in shady places. All, of course, succeed in the more favoured districts.

To ensure correct nomenclature, I have followed as far as possible the authority
of the " Kew Hand Lists." I have also given in many cases the common names by
which they are familiarly known, as well as synonyms. This I feel will assist a purchaser
when selecting plants from the nurseries.

It will also be seen that, in some cases, such as in Acer and Prunus, that rather General
lengthy notes are made. My reason for this is to try to induce intending planters to Principles.
use more of these beautiful trees than has been the case in the past.

The conditions under which they are to be used may be summarised as follows : —

1. That trees and shrubs which are indigenous, or those which have been
introduced into this country, and are allied to and succeed as well as native
varieties, should be preferred to those which only remind us of foreign countries or
are simply freaks of Nature.

2. That the proportion of deciduous trees and flowering plants should, in most
cases, exceed that of evergreen shrubs and trees. This is, however, to a certain

279

TREES AND SHRUBS FOR GARDEN AND PARK.

General extent, a question of locality. A seaside garden, for instance, requires a larger

Principles. proportion of evergreens than an inland garden. The same rule applies to gardens

situated in districts where white chalk or limestone gives tone and character to

the district.

3. That whilst conifers may, under certain conditions, be fitting objects for
the garden, especially when used as formal trees on the terrace, they are seldom
satisfactory when mixed with native trees in the park or home-landscape ; an
exception to this rule may be made in favour of Pinus sylvestris, the " Scotch
pine," which is effective when planted in masses or in conjunction with Betula alba,
the common or silver birch.

4. That collections of trees, shrubs, or conifers might be arranged in such a
way as to display the intention to possess a choice variety of one particular class
of plants.

^l»pfeHll5i!i

FIG. 355. — VILLA GARDEN AT WHITEHILL, BERKHAMSTED.

5. That certain trees are to be avoided as inimical to the effect which
plantations or groups of shrubs should give. Thus the free use of Cupressus
Lawsoniana and Araucaria imbricata, or monkey-puzzle, is usually undesirable. Again,
when a garden is favourably situated in a district where most subjects thrive, avoid
planting shrubs such as Aucuba japonica and golden elders, which are reminiscent
of a smoky atmosphere.

6. That flowering trees and shrubs deserve to be much more largely planted than
they are at present ; this rule refers more particularly to those old-fashioned varieties
that are sometimes spoken of as being common. Amongst these may be mentioned
Laburnum, Syringa, Philadelphus, Ribes, Deutzia, Viburnum, Diervilla, and shrubby
Spiraea, most of which bear not only beautiful but also fragrant flowers.

7. That dotting a lawn all over with specimen trees is a doubtful expedient,

280

TREES AND SHRUBS FOR GARDEN AND PARK.

and one which more often detracts from, than adds to, the effect of the garden,
since breadth of effect is generally destroyed when trees are planted in this way.
Allied to this is the doubtful practice of planting " commemoration trees " by
celebrities, or to commemorate some family event. Planted often in an unsuitable
situation and in warm weather, and having been coddled and fed for the occasion,
in a few years they dwindle to wretched disfiguring skeletons. If such trees are
planted, select an oak, or, if an evergreen is desired, a Holm oak.

8. That indiscriminate mixing of shrubs is to be avoided and that character
and scale of foliage should be observed. Thus Rhododendrons look best when
grouped in very large masses, but Azaleas may successfully be planted in smaller
beds with Kalmias, Dabceciae and Alpine Rhododendrons.

9. That it is possible to over-plant a garden, and so destroy its breadth ol
aspect. Illustration No. 355 shows how little planting is required in many gardens.

10. That it is well to remember, when purchasing trees and shrubs, that those
which appear to be the most thriving and healthy in the nurseries are probably those
which have stood the longest time un-transplanted, and that recently transplanted
shrubs do not appear nearly so robust and vigorous, but are much safer to move.

ACER. — A. PSEUDO-PLATANUS, the " Sycamore," is one of the hardiest as well as the
most handsome of British trees ; it is valuable for planting as wind screens in
exposed situations, for forming large masses of foliage, or for avenues. It grows
quickly, and fairly large trees are procurable from most nurseries. There are
numerous varieties worthy of a place in parks and gardens. A. p. -p. flavo-
marginatum, known as the " Corstorphine Plane," with variegated foliage ; A.
palmatum atropurpureum, a purple form ; A. p. Prinz Handjery, and A. p. Nizeti are
among the best. T.S.

A. PLATANOIDES, the " Norway Maple," with its delicate green tints in the Spring,
turning yellow in Autumn, is particularly effective. The varieties Reitenbachii,
purpureum, palmatum, and Schwedlerii are distinctly characteristic.

A. CAMPESTRE, the common " European Maple," has five-lobed leaves, and when
planted with A. c. variegatum a good contrast is obtained. There is also a golden
form, sold under various names.

A. DASYCARPUM, the " Silver Maple," is most valuable, forming as it does a
specimen tree of a more or less pendulous habit.

A. NEGUNDO, the " Box Elder," with the varieties californicum aureum and
variegatum, is decorative, and only suitable for gardens.

A. PICTUM is a distinct form, and in the variety A. p. rubrum (syn. A. colchicum
rubrum) the young stems and leaves are a bright crimson colour. Another fine
variety is A. p. aureum. A. macrophyllum, the " Californian Maple"; monspessulanum,
the " Montpelier Maple ; " and saccharinum, the " Sugar Maple," are good species ;
while the beautiful Japanese Maples, A. japonicum and A. palmatum, with their fine
cut-leaved varieties, are useful as low-growing forms of this genus, suitable for
sheltered parts of the garden but not for the park.

^ESCULUS. — JE. HIPPOCASTANUM, the " Horse Chestnut," may be seen on every estate.
It is suitable for use in large avenues or for clumps in the park, or singly, as in
illustration No. 357 with the characteristic play of light on the foliage. Both in
Spring when in flower, and in Autumn when the foliage has assumed its resplendent
glowing tint, it forms a prominent feature in the landscape. There are several other
forms which commend themselves both for lawn or landscape ; they are IE. carnea,
the " Red Horse Chestnut ; " IE. californica ; IE. indica, the " Indian Horse Chestnut ; "
IE. flava, the "Sweet Buckeye;" IE. Pavia (syn. Pavia rubra), the " Red Buckeye;"
IE. turbinata, and IE. parviflora (syn. Pavia macrostachya). T.

General
Principles.

Deciduous
trees.

281

TREES AND SHRUBS FOR GARDEN AND PARK.

Deciduous AILANTHUS. — A. GLANDULOSA ("Tree of Heaven") makes a well-furnished specimen
trees. tree when planted as a bush. It is equally serviceable as a standard on long,

clean stems six to eight feet high, pruned to form a good head ; the flowers are
inconspicuous, but the fruits are bright-coloured and effective.

ALNUS. — ALNUS GLUTINOSA, the " Common Alder," has few equals for planting near the
seaside or on waterlogged land. A fine group of Alnus, profuse in catkins,
overhanging the margin of river or lake, is superb. A. g. aurea (golden), A. g.
imperialis, and A. g. laciniata, cut-leaved forms, are effective. A. incana, the
" Speckled Alder ; " A. maritima, the " Seaside Alder ; " A. rhombifolia, the " White
Alder," and A. serrulata, the " Smooth Alder," form very useful subjects. T.S.

AMYGDALUS. See Prunus.

BEECH. See Fagus.

BETULA (Birch). BETULA ALBA, the common Birch, is one of the few trees which

FIG. 356. — A SPANISH CHESTNUT.

never seem inappropriate. Its silvery appearance and graceful pendulous habit
adapt it to any position. The following are forms worthy of mention : B. a.
pendula Youngii, " Young's Weeping Birch ; " B. a. purpurea and B. a. dalecarica ;
B. lenta, the " Cherry Birch ; " B. lutea, the " Yellow Birch ; " B. nigra (syn.

B. rubra) " Red Birch ; " and the beautiful white-stemmed B. papyracea, the " Canoe
or Paper Birch." The pendulous forms can be effectively placed near a stream or
by the margin of a lake, while groups of any of the species on a hillside, especially
when in conjunction with Pinus sylvestris, are charming. T.

CARPINUS. C. BETULUS, the " Hornbeam," is the type of a useful ornamental genus.
The most notable forms are C. b. aspenifolia, C. b. columnaris, C. b. pendula and

C. b. pyramidalis, while C. caroliniana, the " American Hornbeam, " C. laxiflora and
C. cordata, from Japan, are good species.

CARYA. A genus of ornamental trees related to the Walnuts, with bold foliage which
turns a fine yellow colour in the autumn. C. alba the " Shell-bark Hickory ; "

282

TREES AND SHRUBS FOR GARDEN AND PARK.

C. sulcata, the " Big Shell-bark ; " C. amara, the ' Bitter-Nut ; " C. porcina, the Deciduous
" Pig-Nut," make a good show in the park when planted in groups of three or trees.
five.
CASTANEA. C. VULGARIS, the "Sweet or Spanish Chestnut," makes a huge tree suitable

for the park (111. No. 356) . There are numerous varieties of the type.
CATALPA. The most common species met with is C. bignonioides, the " Indian Bean "
(syn. C. syringsefolia), which bears large panicles of white flowers tinged with violet,
spotted with purple and yellow. It is an excellent specimen tree for a lawn, also as
a standard on the sheltered side of a walk, and grows to a height of more than thirty
feet. The species C. Bungei, C. cordifolia and C. Kaempferi are useful and interesting.
CHERRY. See Prunus.
CHESTNUT. See ^Esculus and Castanea.

CRAT^EGUS. One of the finest of the ornamental genera, comprising trees ranging
from twenty to thirty feet in height, while other forms have a more shrubby habit.
CRAT^EGUS OXYACANTHA, the " Hawthorn," is the type, and recommends itself.
There is a division into two sub-species, C. monogyna and C. oxyacanthoides. Under
the former, C. monogyna-prsecox, the " Glastonbury Thorn," is a conspicuous form,
beginning to flower in November and forward into March ; C. m. pendula, C. m. aurea,
and C. m. laciniata are distinct varieties ; while sub-species C. oxyacanthoides is
represented by C. o. fructu luteo, with yellow fruit ; C. o. fl. pi. coccineo ; C. o. fl. pi.
albo, and C. o. fl. pi. piniceo. C. crus-galli, the " Cockspur or Newcastle Thorn," and
its varieties, are the pride of the landscape in the Autumn. C. crus-galli prunifolia
and splendens C. o. surpass all other in richness of colour.

Amongst the distinct species are C. mollis; C. cordata, the " Washington Thorn ; "
C. coccinea, the "Scarlet Haw; " and C. flava, the "Yellow Haw." C. Pyracantha and
C. P. Lelandi, are used largely for covering walls, also to make a border gay in
Winter. This genus is suitable for any situation, and most of the species and
varieties are worthy of places in the park or on the outskirts of the lawn.
FAGUS (Beech). FAGUS SYLVATICA, the common Beech, has very few equals for an
avenue. Unfortunately it does not grow quite so rapidly at first as many trees, and
it is often difficult to obtain large plants from the nurseries. It succeeds best on
land with a gravel or chalk subsoil. The following are some of the best varieties :
F. s. atropurpurea, the " Purple Beech ; " F. s. cuprea, the " Copper Beech ; " F. s.
purpurea pendula, the " Weeping Purple Beech ; " F. s. Zlatia, the " Golden Beech ; "
and F. s. heterophylla, or fern-leaved Beech.

FRAXINUS (Ash). F. EXCELSIOR, the " Common Ash," is the type. The pendulous

forms can seldom be used with advantage, unless a green bower is required, when

they are excellent. F. e. pendula, the " Weeping Ash," is the pendulous variety

most often met with ; F. Ornus, the " Manna Ash ; " F. americana, the " White Ash ; "

and F. nigra, the " Black Ash," are some of the other more distinct species. T.S.

GLEDITSCHIA. G. TRIACANTHOS, the " Honey Locust," is a leguminous tree with

large prickly spines introduced from North America ; the leaves are pinnate and

deciduous. G. monosperma, the "Water Locust," is another specimen from the United

States, while China and Japan furnish several very distinct forms with fine foliage.

JUGLANS. J. REGIA, the " Common Walnut," is the type. It is an excellent tree

for large parks.

LABURNUM. L. VULGARE, the " Common Laburnum," is one of the most useful of
flowering trees. Laburnums are usually grown as standards, with a clean stem for
about five to six feet from the ground, or they may be often used in positions
where a low screen of trees is required. They are useful for growing amongst
other trees and shrubs, and stand shade, and flourish by the sea or in a smoky

283

Deciduous
trees.

TREES AND SHRUBS FOR GARDEN AND PARK.

town. Other good varieties are L. alpinum, " Scotch Laburnum ; " L. Parksi, and

L. Watered. T.S.
LIQUIDAMBAR, a tree with good form, and valuable for its colour in early Autumn ;

it exhales a very refreshing fragrance, and a fine effect is obtained when it is

planted in groups. Two species are worth growing, L. styraciflua, the " Sweet

Gum," and L. orientalis (syn. L. imberbe).
LIRIODENDRON TULIPIFERA, the " Tulip Tree," makes an interesting specimen for the

park. It forms a large trunk, and its habit generally is pleasing. The tulip-like

flowers of a green colour, with an orange and yellow fusion, are borne freely in the

latter part of Julv. Two prominent varieties are L. chinensis and L. fastigiata.
MAPLE. See Acer.
MESPILUS. See AMELANCHIER in

the list of Flowering Shrubs.
OAK. See Ouercus.
PLATANUS. This genus provides

some of the most useful of

ornamental trees for use in

the streets of towns. It can

also be planted in groups or for

forming avenues. P. acerifolia,

the " London Plane," is the

best known ; P. orientalis is a

very fine species from the

Orient ; and P. occidentalis, the

" Button Wood," is a native

North of America. The first

named grows to a huge size if

planted in the open park. T.
POPULUS (Poplar). Trees of this

genus are excellent for towns,

while some species are useful

for breaking the sky line in

masses of foliage, or for

plantations in flat districts.

Populus nigra pyramidalis,

known as the " Lombardy

Poplar," is excellent for this

purpose. This genus has quite

a number of worthy species

and varieties. The following

are the most distinct : — P. alba, the " White Poplar ; " P. balsamifera, the " Balsam

Poplar ; " P. deltoidea, the " Cottonwood ; " P. d. aurea ; P. tremula, the " Aspen ; "

and P. tremuloides, the " American Aspen." T.
PRUNUS. This genus is a very ornamental as well as useful one ; it includes the Plum,

Cherry, Almond and Peach. Dealing with it from the ornamental standpoint, we

give a list of the most prominent species and varieties, which may be used with

the greatest advantage in nearly any position. T.

P. ACIDA, with its varieties, are useful to plant in the woodland. P. a.

semperflorens is the " All Saints' Cherry." P. Avium, the " Gean or Mazzard,"

and P. a. flore pleno make handsome trees, bearing pure white flowers.

P. AMYGDALUS, the " Common Almond " (syn. Amygdalus communis). A

FIG. 357- — A HORSE CHESTNUT.

284

TREES AND SHRUBS FOR GARDEN AND PARK.

well-known tree, but not grown nearly so much as it might be. Blooming in Deciduous
early Spring, when other deciduous trees and shrubs are dull and bare, it makes a trees.
very desirable plant. There are many varieties, of which P. a. amara, the " Bitter
Almond ; " P. a. dulcis, the " Sweet Almond ; " and P. a. persicoides are worth plant-
ing, but none of these varieties succeed well in the six Northern counties.

P. CERASIFERA, the " Myrobalan or Cherry Plum," is a small tree bearing white
flowers. The variety with fine purple foliage, P. cerasifera atropurpurea (syn.
P. Pissardi), is one of the finest trees for colour contrast.

P. CERASUS, the " Wild or Dwarf Cherry," with a double form, P. C. Rhexi flore-
pleno, are charming when planted in groups in the park or near the edge of a wood.

P. DAVIDIANA is a species which makes a very fine tree ; the flowers are rose-
coloured, and a most pleasing effect is obtained when planted with the white variety
amongst shrubs with dark green foliage.

P. JAPONICA, although not a tree form, is useful for making a low-growing
clump. Two double varieties are P. j. flore-albo-pleno and P. j. flore-roseo-pleno.

P. LAUROCERASUS, the " Common Laurel or Cherry Laurel," and P. lusitanica,
the " Portugal Laurel," are dealt with under Evergreen Shrubs. Syn. Cerasus
Laurocerasus.

P. MAHALEB' (Syn. Cerasus Mahaleb), the " St. Lucie Cherry," and its variety,
P. m. pendula, are excellent for specimen trees, especially the latter, which has a
graceful pendulous habit.

P. MARITIMA, the " Beach Plum," as the name denotes, is an excellent subject
for the seaside.

P. MUME, the " Japanese Apricot," with its varieties, some with double flowers
and rich colours, add to the charm which the genus " Prunus " provides in the
early part of the year.

P. PADUS (Syn. Cerasus Padus), the " Bird Cherry," with its host of varieties,
is seen to advantage when planted with other trees in a more or less wild state ;
the flowers are white in colour, and are borne on racemes which vary in length.

P. PERSICA, the " Peach," is well known for its beautiful Spring blossoms. The
varieties P. p. magnifica, P. p. flore-albo-pleno, P. p. flore-roseo-pleno, are very beautiful.

P. PSEUDO-CERASUS is a very showy tree from China and Japan with pink flowers.
The two most distinct varieties are P. p.-c. flore-luteo-pleno, with light yellow flowers,
and P. p.-c. James H. Veitch, a large-flowered form of intense pink colour (Syn. Cerasus
pseudo-cerasus). There are many new varieties of excellent colour and form.

P. SERRULATA has a peculiar habit of throwing out long horizontal branches.
The flowers are borne in profusion on short spurs. Syn. Cerasus serrulata.

P. SPINOSA, the " Sloe or Blackthorn," is, of course, found wild throughout
the country. There is also a double form, P. s. flore-pleno.

P. SUBHIRTELLA is a Japanese species which forms a very elegant tree about
ten feet high.

PYRUS. There are numerous groups in this genus, which include the Pear, Apple,
Medlar, Mountain Ash, Service Tree, and others. The trees generally attain a medium
size, although some are shrubby. When in flower or bearing fruit, all are very
ornamental. T.S.

P. AMERICANA is the American " Mountain Ash." It grows upwards of twenty
feet high and bears scarlet fruits.

P. ARBUTIFOLIA, the " Choke-Berry," is a shrubby tree growing to about ten
feet high. The foliage turns a high colour in Autumn. It is therefore a most
useful form for shrubberies.

P. ARIA, the " White Beam Tree," is the type of a very ornamental section

285

Deciduous
trees.

TREES AND SHRUBS FOR GARDEN AND PARK.

of the genus. The underside of the leaves has usually a silvery appearance. There
are many varieties, all of which are useful for planting in the park ; they grow
about twenty feet high.

P. AUCUPARAJ, the " Mountain Ash or Rowan-tree," is most valuable, growing
some twenty to thirty feet in height. It makes a good show in the home park or
woodland, both when in flower and when bearing its bright scarlet fruits. The
varieties, of which there are a considerable number, are all good.

P. BACCATA, the " Siberian Crab," during the month of May is a mass of
beautiful blossom, followed by a crop of reddish fruits. It makes a perfect
specimen for a lawn or park.

P. CORONARIA, the American " Crab Apple," and the variety P. c. flore-pleno are
distinct.

P. FLORIBUNDA, a very free-flowering small tree, or sometimes broad shrub is
an excellent subject for grouping, with its variety P. f. atrosanguinea, on a mound,
or for planting as a single specimen ; it stands out conspicuously from most of

FIG. 358. — WINTER EFFECT OF SCOTCH FIR AND SILVER BIRCH.

the others owing to its showy colour.

P. GERMANICA (syn. Mespilus germanica) is the " Medlar," which should be given
a place in every formal garden.

P. MALUS, the " Crab Apple," of which there is an endless number of varieties,
is an excellent flowering tree, particularly the variety " John Downie."

P. PRUNIFOLIA and its varieties are useful.

P. SCHEIDECKERI, a very distinct hybrid between P. prunifolia and P. floribunda.

P. SORBUS, the " Service Tree " (Syn. Sorbus domestica), grows to a height of
over forty feet, and makes an excellent tree to plant amongst other masses of
foliage in the woodland. When bursting into leaf, and also when in flower, it is
a striking feature in the woodland.

P. SPECTABILIS, introduced from China and Japan, has larger flowers than most
species. The varieties P. s. Kaido, P. s. flore-pleno and P. s. flore-albo are all good.

P. TORMINALIS, the " Wild Service Tree," grows to a height of forty to fifty feet.
QUERCUS. Q. CERRIS, the " Turkey Oak," with its varieties, cannot be overlooked.

286

TREES AND SHRUBS FOR GARDEN AND PARK.

Q. COCCINEA, the " Scarlet Oak " of North America, has brilliant scarlet leaves Deciduous
in the Autumn, but, owing to its enormous leafage, is somewhat difficult to group trees.
with native trees.

Q. ILEX, the " Holm Oak," is a splendid evergreen, and most suitable for
planting near the seaside. It grows some thirty to forty feet high, and makes a
fine mass. There are also a number of varieties of this species, which include
Q. I. Fordi, 0. I. latifolia, O. I. longifolia and O. I. rotundifolia. S.

Q. LUCOMBEANA, the ' Lucombe Oak," is a variety which carries its leaves
well into the Spring, at which time they are shed. This form is a hybrid,
Q. Cerris x Q. Suber. T.S.

Q. ROBUR, the " Common Oak." Under this name are included Q. pedunculata
and 0. sessiliflora, the British representatives of the genus. Apart from the
forester's idea of the oak, there are good reasons for planting some of the most
distinct species about the parks and woods for enhancing the beauty of the
landscape. T.S.

The following list is worthy of note :—

Q. conferta ; Q. coccifera, the ' Kermes Oak ; " 0. heterophylla ; Cj. rubra,
the " Red Oak ; " Q. palustris, the " Pin Oak ; " Q. Mirbecki ; O. sessiliflora, with its
varieties ; Q. Suber, the " Cork Oak ; " and Q. velutina, the " Yellow Bark Oak,"
are all distinct species which would give relief to the landscape if, when a choice
is being made, some of them are introduced.

ROBINIA. A leguminous genus of very handsome trees, being light and airy.
R. PSEUDACACIA, the " Locust or Acacia," is a form with white flowers. Some
other varieties, of which are R. P. Decaisneana flore rubro, R. P. angustifolia and
R. P. semperflorens, afford a good display. In suburban gardens, R. Pseudacacia
is pruned to a rounded head and grown in mop-shaped fashion.

Other good species are R. neo-mexicana ; R. viscosa, the " Clammy Locust ; "
R. hispida, the "Rose acacia;" and the variety R. inermis. T.

SALIX (Willow). For the seaside or for land which cannot be properly drained,
Willows are invaluable. They are very beautiful, and afford a good effect near a
lake or stream. S. alba coerulea, the true cricket-bat variety, is one of the most
profitable trees grown.

The most useful species are S. alba, the "White Willow," and S. babylonica, the

' Weeping Willow." The golden-stemmed variety, S. ramulis aureis, is very pretty

in its Winter state. Other species are S. caprea, the " Common Sallow or Goat

Willow ; " S. daphnoides, the " Violet Willow ; " S. fragilis, the " Crack Willow ; "

and S. nigra, the " Black Willow." T.S.

SOPHORA. A genus of the Order Leguminoss. Sophora japonica grows upwards
of forty feet high, and has fine dark green pinnate leaves, with cream-coloured
flowers.

S. Korolkowi, S. tetraptera, S. macrocarpa, S. pachycarpa and S. violacea are
distinct species.

S. viciifolia is a most promising species from China, with white and violet
flowers. It forms a very beautiful shrub, and can also be used with good effect
planted against a wall.

TILIA (Lime). A useful tree, and one which grows rapidly in most places. It can
be trained to form an ornamental screen, as often seen in Holland, or may be
pruned for a mop-headed colonnade ; it is also one of the finest trees for avenues
or park clumps. The flowers are very fragrant.

The most distinct species are as follows : — T. vulgaris, the " Common Lime ; "
T. americana, the " Basswood ; " T. argentea, " White Lime ; " and T. platyphyllos. T.

287

Deciduous
trees.

Hardy

Conifers.

TREES AND SHRUBS FOR GARDEN AND PARK.

ULMUS (Elm). One of the most characteristic of English trees. Elms are indifferent alike
to soil and situation, and make magnificent avenues, park clumps, or single specimens.
ULMUS CAMPESTRIS, the " Common Elm," and U. montana, the " Scotch or Wych
Elm," are two species which form huge trees for the park. Other species and varieties
are U. glabra and U. cornubiensis, the " Cornish Elm." U. pumila carries its foliage
into November, and is an excellent tree. In addition to the above-mentioned species
and varieties, this genus provides others equally important for inclusion in an
arboretum. U. c. Wheatleyi is excellent as a fastigiate tree, and especially useful
in those flat districts where the Lombardy poplar does not succeed. T.S.

HARDY CONIFERS FOR THE FORMAL GARDEN, PINETUM AND LAWN.

No class of trees or shrubs
requires more care in selection
and arrangement than do coni-
fers, so much so that it is safe
to state that more places are
spoiled than improved by their
presence ; and yet there are
many varieties which are of
the greatest use to the garden
designer. The fault generally lies
with the planter, who perhaps
does not recognise the effect of
scale in garden design, and who,
in the absence of this know-
ledge, relies upon the perfectly
well-meaning advice of his
nurseryman. The list here
given is one relating to -the
Order Coniferae, as classed in
the " Kew Hand-List of Coni-
ferae," and it must be borne in
mind that quite a number of
these subjects are named by
different nurserymen without
regard to authority of any
description. The " Hand-List,"
reveals the existence of a large
number of synonyms. While en-
deavouring to give a wide scope
for the planting of conifers by
making the list fairly extensive,
it must be understood that ex-
ceptional precautions should be

taken in their general arrangement and grouping, especially in forming gardens of a
limited area. The adoption of dwarf forms for easing off the bend of a walk, or for
planting on rockwork, is but one of many points to be noted in the use of conifers.

Judging from observation it may be said that nowhere do conifers look so much
at home as in mountainous districts, especially when the houses are built of cold grey
stone, or where there is a large extent of water, either in the form of a river, loch or
lake. The explanation is probably that in such districts conifers attain a large size

FIG. 359. — SNOWY MESPILUS AGAINST A BACKGROUND OF HOLLIES.

288

TREES AND SHRUBS FOR GARDEN AND PARK.

and most characteristic colouring, that they supply just the requisite amount of warmth Conifers.

of tone to the district in the Winter season, and that they are generally seen against

a background of hills.

ABIES (Silver Fir). A fine ornamental genus, which mostly produces large trees, with
erect cones. The following are the most interesting : — -A. brachyphylla ; A. bracteata,
the " Santa Lucia Fir ; " A. cephalonica, A. cilicia, A. concolor, A. firma, A. lasiocarpa,
A. nobilis, and A. n. glauca, A. Nordmanniana, A. numidica, A. pectinata, the "Silver .
Fir ; " A. Pinsapo, A. Webbiana, and A. Webbiana var. Pindrow.

ARAUCARIA IMBRICATA, the " Monkey Puzzle," should never be planted except in collections,
as a curious tree.

CEDRUS (Cedar). C. Libani, the " Cedar of Lebanon," has always been in great repute
with garden makers and improvers, and very properly so, as it is one of the
most stately trees both in form and colour, especially when seen in conjunction with
classic architecture. A single specimen at maturity is a noble tree, whilst an
avenue formed of cedars is one of the most beautiful it is possible to rear. Other
species and varieties are C. atlantica, and C. a. glauca ; the latter with its glaucous
foliage, is very fine. C. Deodara, "The Deodar," or "Indian Cedar," forms a very
interesting specimen when in good health, but is not so beautiful as C. atlantica

CEPHALOTAXUS is a very ornamental genus for inclusion in a collection. C. drupacea.
C. Fortunei and C. pedunculata are the most distinct forms.

CRYPTOMERIA JAPONIC A, the " Japanese Cedar," which in Lakeland grows to an enormous
size, is a useful and beautiful specimen for the pinetum.

CUPRESSUS. This genus includes many very handsome hardy evergreen trees, some of
which can be strongly recommended for planting on terraces, for hedges, as specimens
on lawns, and for boundary plantations in the gardens. C. Lawsoniana (syn.
Chamaecyparis Lawsoniana), the ' Lawson Cypress," may occasionally be used as
a hedge plant, but it is too funereal in appearance for other purposes. The following
varieties are very prettj^ : C. L. aurea, C. Allumi, C. erecta viridis, C. pendula. C.
nootkaetensis (syn. Thuiopsis borealis) should be planted instead of C. Lawsoniana.
C. obtusa (syn. Retinospora obtusa), with the large number of useful varieties,
provide beautiful forms for a mixed collection. C. pisifera, with the varieties of
C. p. plumosa and C. p. filifera, cannot be passed over, being very graceful subjects
C. thuyoides, the " White Cedar," (syn. Retinospora ericoides) has quite a number
of varieties which furnish medium-sized specimens. C. macrocarpa, the " Monterey
Cypress," is tender in some localities, but when established is very handsome. For a
seaside garden, C. macrocarpa is one of the most useful conifers known to the writer ;
it grows very rapidly, can be planted as a hedge and closely clipped, or it may be
treated as a close-trimmed formal tree.

GINGKO BILOBA, the " Maidenhair Tree," is a deciduous conifer which thrives well in towns.

JUNIPERUS (Juniper). A genus of useful trees and dwarf shrubs, the principal species
and varieties being as follows: — J. communis, the "Common Juniper," with its
varieties, provide good subjects for natural masses ; while J. c. hibernica, the " Irish
Juniper," is a useful shrub for planting on terraces. Other species are J. littoralis.
J. drupacea, the " Syrian Juniper," and J. sabina, the " Savin." An interesting variety
is J. s. tamariscifolia, the " Carpet Juniper ; " while J. chinensis and varieties, J. excelsa
the " Greek Juniper ; " J. recur va, J. thurifera, the Spanish or " Incense Juniper ; "
J. virginiana, the " Red Cedar," with a host of varieties, make up a pleasing effect
for every kind of situation, but preferably where the lawns are expanding into the
wild garden or woodland.

LARIX EUROP^EA (Larch) is one of the best trees for plantations in hilly country, being
hardy, quick growing and valuable for timber.

289

TREES AND SHRUBS FOR GARDEN AND PARK.

Conifers. LIBOCEDRUS DECURRENS, the " Incense Cedar," is a stately columnar tree which shows
to advantage if planted in a group. There are several varieties of this type.

PICEA (Spruce Fir). This is a genus of lofty trees which are very ornamental in
the park or woodland, but should not be planted on low ground in combination
with other trees. The type is P. excelsa, the " Common Spruce," which has a
large number of different varieties. Other interesting species are P. alba, the
" White Spruce ; " P. Alcockiana, P. Engelmanni, P. Maximowiczii, P. Morinda, P. nigra
the " Black Spruce," P. Omorika, the " Servian Spruce ; " P. orientalis, P. polita and
P. pungens ; also the variety P. p. glauca, the " Blue Spruce."

PINUS, of which the varieties are legion, includes some of the best known conifers, but
the genus also contains a large number of species which are only interesting to lovers
of the curious. The commonest and probably the most useful is P. sylvestris, the
Scotch fir which is one of the few pines which associate well with English landscape
scenery. The following are distinct: — P. Bungeana, the "Lace Bark Pine;"
P. inops, the " Scrub Pine ; " P. Laricio, the " Corsican Pine ; " P. montana ; P. Pinaster,
the " Cluster Pine ; " P. Pinea, the " Stone
Pine ; " P. excelsa, the " Bhotan Pine," and
P. Strobus, the " Weymouth Pine." Pines
invariably look best when planted together
in considerable numbers.

PSEUDOLARIX K.EMPFERI, the " Golden Larch,"
is a beautiful tree, and should be more
largely planted for effect, wherever there
is a background of large trees or hills.

PSEUDOTSUGA DouGLAsii, the " Douglas Fir,"
is a handsome tree of very rapid growth,
and valuable as timber. It will not how-
ever stand strong winds.

RETINOSPORA. See Cupressus.

SCIADOPITYS VERTICILLATA, the ' Umbrella
Pine," is a somewhat rare and unique
evergreen tree of slow growth, quite distinct
from any other Pine, and one which should
be included in every collection.

SEQUOIA GIGANTEA, " Wellingtonia," Mammoth

Tree, and S. sempervirens, the " Redwood," FIG- 360.— CYTISUS ALBA.

grow to very large trees, but the positions they are to occupy ought to be chosen

with great discretion, as they need plenty of space to grow in.

TAXODIUM DISTICHUM, the " Deciduous Cypress," grows well in swamps or near the
margin of a stream or lake. It is a very interesting tree.

TAXUS (Yew). T. baccata, the " Common Yew," is of all evergreens at once the most
English and the most beautiful in character ; serviceable alike for almost every
purpose for which trees are required — when planted as an avenue, as a single tree
on a lawn. It may be seen at hundreds of places ; as a screen tree, as a clipped
tree in the formal garden, or as a hedge, for which purpose it is better than any
other plant. Other useful varieties are T. b. adpressa, T. b. adpressa aurea, one of
the most effective forms which is often grafted on T. b. fastigiata, the " Irish
Yew " the result being a mushroom or pyramidal head, as shown in illustration
No. 341. Although often decried by writers on gardens, there is no tree of
natural shape which is so useful to the garden designer as the Irish Yew and
its golden variety, T. b. fastigiata aurea. As a line of Yews, or for marking

290

TREES AND SHRUBS FOR GARDEN AND PARK.

the steps of a doorway, they are invaluable. Yews require to be placed with great Conifers.
discretion, as they sometimes, when improperly used, give a funereal appearance
to a garden. Very effective specimens, grown in many shapes, can be obtained.
They are, of course, expensive, but they give an immediate effect. There is an
endless number of varieties of the type.

THUYA. T. occidentalis, the " American Arborvitae," and its varieties are useful as
formal trees or for hedges. T. Standishi, T. plicata, the "Red" or "Canoe Cedar,"
and T. Lobbi (syn. T. gigantea) and varieties are useful trees for planting as a
screen or shelter. It is a conifer much thought of by foresters and gardeners,
but one which the writer has never been able to employ with good results. From
a landscape gardener's point of view it would look best when standing out of a
bed of low-growing shrubs. Other forms are T. dolabrata (syn. Thuyopsis dolabrata)
T. orientalis, the " Chinese Arborvitae." There are endless varieties of this form,
all good in their various habits. The latter form is sometimes named Biota
orientalis.

TSUGA. A genus of ornamental character, the type being T. canadensis, the " Hemlock
Spruce." Distinct species are T. Albertiana, T. Brunoniana, the " Indian Hemlock
Fir ; " T. Pattoniana, T. Sieboldi, the " Japanese Hemlock Spruce," and T.
Hookeriana.

FLOWERING SHRUBS, DECIDUOUS AND EVERGREEN.

AMELANCHIER. A genus of small trees, and shrubs, bearing in Spring dainty white Flowering
flowers, which will thrive in any moderately rich soil. A. canadensis, the " June or shrubs.
Serviceberry," is the showiest. A. c. oblongifolia, the " Swamp Sugar Pear," a
variety of the above, is also fine, whilst the following species grace a collection : — A.
alnifolia, A. asiatica ; A. oligocarpa ; A. utahensis and A. vulgaris, the " Snowy
Mespilus," with cream-coloured flowers, grow from 10 to 15 ft. high. T.S.

ANDROMEDA. The most recent arrangement of genera in the Order Ericaceae only records
one species, viz. A. polifolia, a dwarf shrub with pink flowers. There are two
distinct varieties from the type, A. p. angustifolia and A. p. major. Growth is greatly
encouraged if peat and leaves are worked into the soil before planting. P.

ARBUTUS. An Ericaceous evergreen with bell-shaped flowers, its fruit resembles a straw-
berry, and ripens about a year after flowering. It thrives well in a sandy or
peaty compost with plenty of moisture, and near the sea. The type, A. Unedo,
the " Strawberry Tree," grows wild in the south of Ireland, while the varieties
A. U. compacta, A. U. integerrima, A. U. microphylla, A. U. quercifolia and A. U.
rubra, give quite a varied number of forms of the type. Other distinct varieties
are A. Andrachne, A. hybrida, and A. Menziesii. S.P.

ARCTOSTAPHYLOS. This also belongs to the Order Ericaceae. A. Uva-ursi, the " Bearberry,"
is a little trailing form, as also is the variety A. californica. A. pungens and
A. tomentosa " Manzanita " are interesting forms quite resembling the Arbutus, and
are excellent for shady positions. P.

AZALEA. See Rhododendrons.

BERBERIS. This is a genus of hardy and indispensable flowering shrubs ; some species
are of upright growth, others are of trailing habit, while others again have gracefully
arched branches bearing racemes of yellow or orange-coloured flowers in the greatest
profusion. Some varieties are evergreen and some deciduous and all will thrive well
in any ordinary soil, and may be grown by those possessing little knowledge of
gardening. The following are the most useful ; B. aquifolium (syn. Mahonia
aquifolium) and its varieties are evergreen ; B. Darwinii, another evergreen, one
of the best, bears orange-coloured flowers excellent for massing ; B. stenophylla

291

TREES AND SHRUBS FOR GARDEN AND PARK.

Flowering is a hybrid, B. empetrifolia B. Darwinii, its long, gracefully arched branches bearing

shrubs. a profusion of small yellow flowers. B. Thunbergii is a choice Japanese species, the

foliage of which turns a bright crimson in the Autumn ; B. vulgaris is the well-
known Berberry ; B. v. atropurpurea is a purple-leaved variety ; B. Wallichiana, an
evergreen about 3 ft. high. T.S.

BUCKTHORN, SEA (URTICACE^E) . See Hippophae.

BROUSSONETIA PAPYRIFERA, the ' Paper Mulberry," belongs to the same Order as the
Elm and may be planted in large shrubberies.

BRYANTHUS. A genus resembling the Heaths. They may be planted with advantage in
a rockery or in rough ground where they will not be disturbed ; they grow well in
peat. The best known species is B. empetriformis, while B. Breweri, B. erecta and

B. taxifolia are all interesting. P.

BUDDLEIA. An interesting and useful genus belonging to the Order Loganiaceae. They
succeed nearly everywhere and are good seaside plants ; when planted inland, a
position sheltered from the North and East winds is preferred. B. globosa is the
form which has round orange flower-heads, and makes a bush 12 ft. high ; B.
variabilis, from China, has racemes of lilac-coloured flowers. B. v. Veitchiana is a
great improvement, having very long racemes, sometimes over 2 ft. in length ; the
colour of which is much deeper than the type. S.

CALLUNA VULGARIS, the " Ling " See ERICA.

CALYCANTHUS. A genus of handsome, hardy, deciduous and sweet-scented shrubs. C.
floridus, the " Carolina Allspice," is a lovely sweet-scented form ; C. glaucus has
glaucus-coloured leaves ; C. occidentalis, a Californian species, grows larger than the
others, often attaining a height of 10 ft. P.

CARAGANA. A useful Leguminous genus with yellow flowers. C. arborescens is a large
shrub often over 15 ft. high. The forms C. pendula and C. Redowski are useful.

C. aurantiaca makes a close-formed specimen, and C. frutescens, with its numerous
varieties, are fit subjects for large shrubberies.

CASSANDRA CALYCULATA, the " Leather-leaf " (syn. Andromeda calyculata), is a pretty
shrub about 2 ft. high, useful for breaking up the flat portions of a rockery, as
well as for forming a mass in front of other groups. Where possible, peat and
leaf-mould should be used when planting. There are two varieties, C. latifolia and
C. nana. P.

CEANOTHUS. See List of Climbers and Wall Plants.

CERCIS, comprises a genus of Leguminous shrubs and small trees. The clusters of
reddish-purple flowers it bears make a very pleasing effect about the end of May.
C. canadensis, the " Redbud," grows upwards of 15 ft. high and forms a large bush.
C. siliquastrum, the "Judas Tree," grows over 20 ft. high, forming a small tree ; there
are two varieties, C. s. alba and C. s. carnea bearing respectively white and flesh-
coloured flowers.

CHIMONANTHUS FRAGRANS (syn. Calycanthus praecox), from China and Japan, is suitable
for a wall or sheltered position facing South, the flowers are very fragrant, pale
yellow in colour, and open in January. C. f. grandiflorus has larger and deeper-
coloured flowers.

CHIMONANTHUS VIRGINICA, the " Fringe Tree," makes a pretty show of drooping white
flowers with fringed petals and attains a height of 10 to 30 ft. C. retusa, a
handsome species with white flowers and very fragrant, is from China and Japan.

CHOISYA TERNATA, a beautiful evergreen shrub, bearing white sweet-scented flowers. It
is very effective as a shrubby climber or when planted in peat or loamy soil in a
sheltered position. Order Rutaceae.

292

TREES AND SHRUBS FOR GARDEN AND PARK.

CISTUS. A genus which is suitable for situations where the soil is dry and poor. The Flowering
position should face South if possible, as its growths ripen better when exposed to the shrubs.
sun. The different species of this genus vary in height. A list of the most interesting
is as follows : C. corbariensis, with white flowers, 2 ft. high ; C. crispus, purple flowers,
2 ft. high ; C. cyprius, petals white with a dark spot at base, height 4 ft. ; C. laurifolius,
a most useful form, 4 to 6 ft. high, with white flowers ; C. purpureus, 2 ft. high ;
C. ladaniferus is a handsome form, but as it is somewhat tender it does not thrive in
all parts of the country. C. recognitus, 2 ft. high, makes a grand show, as also
does C. monspeliensis and its variety C. florentinus, a most effective low-growing
shrub producing sheets of white flowers. The plants should be grown in pots up
to the time of planting out, as they do not take well to transplanting from open
ground. The best effect is obtained when they are planted in masses.
CLERODENDRON. Belongs to the Order Verbenacese, and should be more largely planted
than it has been, as in August and September, when the flowers appear, there is
really a scarcity of bloom amongst the hardy shrubs. C. fcetidum (syn. C. Bungei),
grows about 5 ft. high with quite a number of shoots, which bear terminal corymbs
of lilac-rose flowers. C. trichotomum " Kusagi," from China and Japan, is the
best hardy form, it grows to a height of 10 to 12 ft. ; the flower-heads in terminal
cymes of very fragrant blooms, with red calyx and white corolla, are really a fine
sight : this species should be planted in groups.

CLETHRA. A genus of deciduous shrubs which bear racemes of white flowers ; they belong
to the Order Ericaceae, and naturally need a peaty soil and the same treatment as
most Ericaceous plants. C. acuminata grows over 10 ft. high ; alnifolia, the " Sweet
Pepper-bush," with its varieties, about 4 ft. high. P.

COLUTEA. An interesting genus of Leguminosaa, which flowers very freely and ripens
fruits of a bladder-like shape. C. arborescens, the " Bladder Senna," grows to 10
ft. high. Other species are C. cruenta and C. longialata.

CORNUS. Ornamental shrubs and small trees, useful both when in and out of leaf, as
the Winter state of some forms is very striking. A few of the best species and
varieties are as follows : — C. alba grows 5 to 10 ft. high, with white flowers and
white fruits, and in the Winter has deep red-coloured bark. Two good varieties
are C. a. sibirica variegata and C. a. Spathii. C. Baileyi has red stems ; C. brachypoda
and its variety C. b. variegata are distinct and handsome ; C. florida, the " Flowering
Dogwood," grows over 20 ft. high; C. mas, "the Cornelian Cherry," "Cornel," is a
species which makes a splendid show of yellow flowers early in the year when the
tree is leafless ; it is a native of Europe, and is useful for a large shrubbery. C.
sanguinea, the " Common Dogwood," and C. stolonifera (syn. C. alba), the ' Red
Osier Dogwood," are useful for massing in the woods or by streams or
ornamental lakes. T.
CORONILLA. C. emerus, the Scorpion Senna, is a pretty shrub with yellow flowers, growing

3 to 4 ft. high.

CORYLUS. C. Avellana, the " Common Hazel," is a type of this genus of Cupuliferae.
The two varieties, C. aurea, with golden foliage, and C. heterophylla, are useful
shrubbery plants, as also are C. maxima and the variety C. m. atropurpurea.
COTONEASTER. Hardy shrubs requiring little or no care after planting, excellent for
the shrubbery, or for training against walls. The following are the best ; C.
angustifolia, an orange-berried form of recent introduction; C. bacillaris, a deciduous
shrub with dark purple fruits, over 15 ft. high ; C. buxifolia, an evergreen, 6 ft.
high ; C. Franchettii, a Yunnan species. C. frigida, with deciduous leaves and
bearing red fruits, makes a very fine effect, growing about 15 ft. high, and is most
useful for forming a mass in a large shrubbery or the home park. C. horizontalis

293

TREES AND SHRUBS FOR GARDEN AND PARK.

flowering
shrubs.

makes a spreading bush about 3 ft. high ; C. macrophylla is an evergreen species

with red fruits, suitable for rockery or bank, or for covering low walls ; C. multiflora

is a very pretty form, being more or
less pendulous, very free flowering, and
4 to 6 ft. high ; C. rotundifolia grows
about 4 ft. high, bears red fruits, and
is a very useful species. C. Simonsii,
a sub-evergreen, has orange-coloured
fruits. The above named are the best
of this genus. T.S.

CYDONIA. C. vulgaris, the "Quince," is the
type, while C. japonica, the " Japanese
Quince," with red flowers, is a favour-
ite for training against a wall ; they
are also excellent for covering large
mounds or banks. C. Maulei is a
bushy species with red flowers, and
C. sinensis is the " Chinese Quince."
T.S.

CYRILLA. A lovely little shrub distinct in
form, with racemes of white flowers,
borne in a whorl round the stem.
Peat should be worked into the soil
when planting. C. racemiflora, the
" Leatherwood," is a useful species. P.
CYTISUS. In the creation of garden effects
there are few shrubs so useful as the
" Common Broom," which seems to
harmonize with any style, rough,

polished, or formal. The following is a list of the best forms of Cytisus : C. albus,

the " White Spanish

broom;" (111. No. 360) .

C. a. incarnatus is a

variety tinged with

red; C. nigricans grows

3 ft. high ; C. prsecox

grows 6 to 8 ft., the

flowers being pale yel-
low ; C. purpureus, a

low form, i to 2 ft.

high. C. scoparius, the

"Common Broom,"

speaks for itself, while

the variety C. s.

andreanus, with the

reddish-bronze petals,

makes, when planted

in masses, a fine effect.

T.S.
DABCECIA POLI FOLIA, the

"St. Dabcec's Heath," and often called Menziesia, grows i to 2 ft. high, belongs to

FIG. 361. — QUALITIES OF FOLIAGE (VERTICAL LINE)

FIG. 362. — QUALITIES OF FOLIAGE (SILHOUETTE).

294

TREES AND SHRUBS FOR GARDEN AND PARK.

the Order Ericaceae, and is excellent for masses in a rockery or rough ground. The Flowering

varieties, D. alba and D. bicolor are useful.

DAPHNE. D. Mezereum, the " Mezereon,"
with red flowers, and the varieties D. M.
grandiflorum and D. M. album, flower
early in Spring, and are very fragrant.
The following species are also very
interesting : D. Blagayana, with white
flowers. D. Cneorum, the " Garland
Flower," and the variety D. C. major,
grows about i ft. high. D. laureola,
the " Spurge Laurel," grows about 3 ft.
high, and has evergreen leaves. This
makes a capital undergrowth. P.

DEUTZIA. Very beautiful deciduous flower-
ing shrubs. The following is a list of
the best. D. corymbosa, with white
flowers, grows about 4 ft. high ; D.
crenata grows 8 ft. high ; D. gracilis
and its varieties are very good ; D.
Lemoinei is a hybrid between D.
gracilis and D. parviflora. All the
species flower during May and June. T.

DIERVILLA (syn. Weigela). Handsome
flowering shrubs well deserving more
extended cultivation. They thrive in
any ordinary garden soil, are very
profuse bloomers and have a graceful
spreading habit ; with their long

shrubs.

FIG. 363. QUALITIES OF FOLIAGE (MASS) .

racemes of bell-shaped flowers in Spring and gorgeous foliage in Autumn, they are

always pleasing.
D. floribunda and

^ -^*L D. grandiflora

have given us D.
hybrida, which
comprises quite a
number of excel-
lent forms of
which the follow-
ing are most beau-
tiful: Abel Car-
riere, Eva Rathke,
D. rosea, D. Can-
dida, and D .
amabilis. T.S.
EL^AGNUS. This is a
most useful genus,
as it comprises
both deciduous
and evergreen

shrubs. The most useful forms are E. argentea, the " Silver Berry," which grows

FIG. 364. — QUALITIES OF FOLIAGE (LIGHT AND SHADE).

295

TREES AND SHRUBS FOR GARDEN AND PARK.

Flowering over 8 ft. high; E. glabra and E. g. variegata ; E. macrophylla, the " Fon Gumi ; "

shrubs. E. multiflora, and E. pungens, " Natsu Gumi," which has provided quite a number

of very fine coloured varieties. E. p. aurea, E. p. aureo-picta, E. p. Simonsii, E. p. S.

aureo-variegata, E. p. tricolor, and E. p. variegata are all worthy of places in large

shrubberies. T.

ERICA (syn. Heath). A genus of pretty shrubby plants, very effective when grown in
masses on the rockery or as edgings to shrubberies. On the outskirts of pleasure
grounds there are often odd corners and scraps of ground where the soil is too poor
for most shrubs and in such positions, heaths are most valuable. Another interesting
feature is that the species and varieties now in cultivation provide a continual
Ericaceous display of bloom throughout the year. E. arborea has white flowers ;
E. australis, with purple-red flowers, borne in March and April, grows from 4 to
6 ft. high ; E. carnea and E. c. alba flower from February to April, and grow six
inches high ; E. ciliaris and the variety E. c. Maweana flower about August. E.
cinerea, with its numerous varieties, blooms throughout the Summer : the colours are
very fine in these forms. E. mediterranea flowers from March to May, and grows
about 4 ft. high ; but the best variety is E. m. hybrida, which flowers from December
to the end of April, and grows I foot high ; while E. multiflora, E. stricta, E.
tetralix, the " Cross-leaved Heath," and E. vagans, the " Cornish Heath," make a
good display. All the forms of Calluna are worth planting on high or rough ground.

ESCALLONIA. See CLIMBERS.

EUCRYPHIA PINNATIFOLIA, a native of Chili, is one of the finest shrubs grown, but
requires a sheltered position ; height 10 to 15 feet.

EUONYMUS. A genus containing both evergreen and deciduous shrubs and small trees.
The following list is worth growing : E. europaeus, the " Spindle Tree," is valuable
for its display of red and yellow fruits ; E. americanus is the " Strawberry Bush ; "

E. japonicus, with its numerous evergreen, variegated and golden forms, proves
useful for shrubberies. T.

EXOCHORDA. A very beautiful shrub of compact growth, bearing white flowers in May ;

it grows about 6 ft. high. E. Alberti and E. grandiflora are the two types. T.

FORSYTHIA. Ornamental shrubs which bear showy yellow flowers in February and March.

F. suspensa thrives well as a climber or grown as a bush. When the flowering
season is over, if the growths are cut back a fresh lot of shoots will spring up, to
be covered the following year with masses of flowers. F. viridissima and F. inter-
media are both good forms. T.S.

GAULTHERIA PROCUMBENS, the " Creeping Winter-green," is a pretty creeping shrub with
white wax-like flowers and red berries, G. Shallon thrives well in the shade of
trees. Both species may be used on the rockery. U.P.

GENISTA. This genus is closely allied to Cytisus, and belongs to Order Leguminosae.
The following species are the best : G. setnensis, grows over 15 ft. high, with
pendulous habit, and bears yellow flowers ; G. cinerea, 8 to 10 ft. high, blooms in
June, and is a very fine plant ; G. hispanica, the " Spanish Gorse," flowers in June,
and grows 2 ft. high; G. pilosa, 2 ft. high; G. tinctoria, "Dyer's Greenweed," and
its double form, growing about 18 inches high, are two especially pretty plants ;

G. virgata grows upwards of 15 ft. high, and is excellent for planting in the park
in the shade of other trees. T.

HALESIA TETRAPTERA, the " Snowdrop or Silver-bell Tree," has racemes of white flowers.

Other species are H. corymbosa ; H. diptera ; H. hispida, " Asagara ; " and H.

parviflora ; all very interesting shrubs. T.
HAMAMELIS. This genus is one of the prettiest and most useful of shrubs. Though it

has been neglected by planters up to the present, it is hoped that those who are

296

TREES AND SHRUBS FOR GARDEN AND PARK.

practically acquainted with its value, at a season of the year when few or no flowers Flowering
are in evidence, will do their best to introduce it in quantity. The following are shrubs
all worthy of a place ; H. arborea, the " Mansak," (from Japan, flowers in January) :
H. japonica, H. j. Zuccariniana, H. mollis, and H. virginica, the "Witch Hazel." T.

HEATH. See ERICA.

HEDYSARUM MULTIJUGUM, with purple flowers, is a dwarf shrub belonging to the Order
Leguminosse.

HIBISCUS SYRIACUS, forms a desirable class of deciduous flowering shrubs with malva-like
flowers. Although perfectly hardy in the Midland, Southern and Western counties,
and in gardens situated near the coast, they are not always reliable in Scotland
or the North of England.

HIPPOPHAE RHAMNOIDES, the " Sea Buckthorn," is a hardy deciduous shrub or small tree ;
when trained as the latter, and when covered with fine bright, orange-coloured
fruits, it is a very fine sight. It is most useful for the seaside, as it forms a
good wind screen for protecting other plants. It should be noted that both male
and female plants must be planted. S.

HYDRANGEA PANICULATA, is a very useful subject for a mass ; H. p. grandiflora is a
larger-flowered form than the type. T.

HYPERICUM. Very serviceable shrubs of varied types ; some forms grow 5 ft. high,
while others attain only i foot. The best forms are H. Androscemum, " Tutsan,"
which grows 2 to 3 ft. high. The species H. calycinum (the Rose of Sharon),
H. Moserianum, H. Hookerianum, and H. patulum are the most useful. T.

KALMIA. A genus of Ericaceae commendable for their very beautiful flowers, combined
with evergreen foliage. K. angustifolia, the " Sheep Laurel ; " K. glauca ; and
K. latifolia, the " Calico-Bush," are noteworthy species. Peat should be added when
planting. P.

KERRIA JAPONICA, a pretty cottage shrub with slender branches, bearing yellow flowers in
great profusion. It is useful for nearly any situation ; the varieties are also good.

LAURUSTINUS. See Viburnum.

LEDUM LATIFOLIUM belongs to the Order Ericaceae, and requires similar treatment to
others of the same Order. L. palustre and L. p. dilatatum are both worth growing.
L. palustre is an excellent bog plant.

LEYCESTERIA FORMOSA is a handsome shrub of distinct appearance ; it has white flowers
with purple bracts, and will grow well in nearly all soils.

LILAC. See SYRINGA.

MAGNOLIA is one of the most ornamental and attractive flowering trees or shrubs known,
but is not quite hardy as a bush in the North. M. conspicua, (syn. M. Yulan),
is a handsome deciduous species of erect growth, its numerous large white
flowers being very conspicuous and delightfully fragrant. M. Soulangeana is perhaps
better than its parents (M. conspicua x M. obovata) ; it is of similar habit, but
the flowers are shaded purple. The striking effect of the flowers, relieved against
the bare deciduous branches and the wall of a house can only be judged by those
who have seen them. The following are good and interesting species : M.
acuminata, the " Cucumber Tree ; " M. grandiflora, M. Lennei, M. macrophylla, M.
parviflora, M. stellata, and M. Watsoni.

OLEARIA HAASTII is a most useful evergreen flowering shrub, excellent for the seaside.
O. macrodonta is a good town shrub. T.S.

OSMANTHUS. An evergreen shrub effective in the border, and somewhat resembling a
holly; it has prickly foliage and bears small fragrant white flowers. The most distinct
varieties of O. aquifolius are O. a. ilicifolius, O. a. latifolius, O. a. purpureus, O. a.
variegatus, and O. a. rotundifolius, but O. Aquifolius is the most satisfactory. T.S.

297

TREES AND SHRUBS FOR GARDEN AND PARK.

Flowering PERNETTYA MUCRONATA grows 2 to 3 ft. high, and when planted in groups soon makes a
shrubs. dense mass of growth. The fruits are very showy ; there are red, white and pink

forms. They are superb for Winter effect, and are easily grown in almost any soil
or situation.

PHILADELPHIA. These ornamental and deciduous shrubs are welcomed by lovers of old-
fashioned flowers, and are not only hardy, but succeed in any kind of soil or
atmosphere. The best form is P. coronarius, the " Mock Orange," commonly known
as " Syringa," and grows about 9 ft. high. There are other varieties of the type.
P. grandiflorus, with the varieties P. g. floribundus and laxus, are good sorts which
grow about 15 ft. high. P. Lemoinei, a hybrid (P. microphyllus x P. coronarius,)
is a very good type about 3 ft. high ; the variety P. erectus is also an
improvement. T.S.

PIERIS, a genus of the Order Ericaceae allied to Andromeda, which needs similar positions
and treatment. The species are P. floribunda, P. japonica, P. mariana, "Stagger
Bush," and P. nitida. P.

POTENTILLA FRUTicosA is a pretty shrub 2 to 4 ft. high and bears numerous small
yellow flowers.

PTELEA TRIFOLIATA, the " Hop Tree," is an interesting tree or large shrub ; it bears fruits
which resemble hops, and are very conspicuous ; there are several varieties of the
type.

RHODODENDRONS. The hybrids of some of the hardy species are generally admitted to
be the showiest of hardy shrubs, being exceedingly striking when planted in groups
and masses in the woodlands bounding the gardens, embracing as they do every
shade of colour from the purest white to the richest crimson and purple, the colours
of some varieties being simply gorgeous. The effectiveness of masses of Rhodo-
dendrons is often lost by the indiscriminate mixing of varieties ; much better results
can be obtained by planting groups of six or eight together, and confining the
mass to, say, as many varieties, carefully arranging the colours. Although peat-loving
plants, they succeed admirably on an}' good loam, provided that it does not rest
on limestone or chalk. The hybrid varieties are numberless, and it is a difficult
matter to select a few of the best without feeling that there are many other good
forms which ought to be included. The following will be found excellent :—

RHODODENDRON ALARM, centre white deeply tinged RHODODENDRON FASTUOSUM FL. PL., double lilac.

with scarlet. ,, FREDERICK WATERER, fiery crimson,
ALBUM GRANDIFLORUM, blush. very fine.

ASCOT BRILLIANT, splendid red. „ HELEN WATERER, pure white with crim-
ATROSANGUINEUM, blood red. son margin.

BLANDIANUM, rosy crimson. ,, IAGO, rosy carmine, early.

BOULE DE NEIGE, an early white var- ,, JACKSONI, red, early.

iety. ,, JOHN WATERER, dark crimson.

CARACTACUS, rich purple crimson, good „ JOHN WALTER, dark crimson.

truss. „ LADY ELINOR CATHCART, light rose
CAUCASICUM ALBUM, white, fine foliage, with chocolate spots.

early. ,, LORD ROBERTS.

,, CHEVALIER FELIX DE SAUVAGE, deep ,, LUDWIG LEOPOLD LIEBIG, bright cher-

rose pink with dark blotches. ry red.

CHRISTMAS CHEER, deep pink, early. „ MICHAEL WATERER, crimson spotted.

„ CUNNINGHAM'S WHITE, most useful . ,, MADAME CARVALHO, pure white, fine

for general planting, early. truss.

CYNTHIA, large truss, pink. „ MRS. JOHN GLUTTON, the best hardy
„ DONCASTER, red. white.

„ EVERESTIANUM, rosy lilac, spotted and „ MRS. JOHN WATERER, rosy crimson,

fringed, an excellent bloomer, fine ,, MRS. HOLFORD, rich salmon, large truss,

foliage. ,, NERO, dark rosy purple, finely spotted.

298

TREES AND SHRUBS FOR GARDEN AND PARK

RHODODENDRON PINK PEARL, the finest of all the RHODODENDRON STELLA, pale rose with chocolate blotch. Flowering

later introductions ; it bears very ,, THE QUEEN, blush changing to white, shrubs

freely, immense heads of beautiful ,, THE WARRIOR, rosy scarlet,

pink wax-like flowers, should be in ,, VAUBAN, mauve with yellow blotch

every collection. ,, WHITE PEARL, excellent white.

PURITY, white with yellow eye. ,, WILLIAM DOWNING, dark puce-col-

SIR HENRY HAVELOCK, red. cured.

SIR ISAAC NEWTON, plum colour. ,, WILLIAM AUSTIN, deep red.

There is a host of useful dwarf evergreen species which make a most handsome
display when in flower ; some may be used to advantage on the rockery or for massing
in the shrubbery border. It will be sufficient to mention the most important. R.
racemosum is a Chinese dwarf Rhododendron, growing about 2 ft. high, with a mass of
shoots springing from the base which bear beautiful pink flowers ; it is a plant deserving
extended cultivation. R. rubiginosum, from Yunnan, grows 2 to 3 ft. high. R.
yunnanense ; R. lepidotum, from the Alpine Himalaya, and R. ferrugineum, from the
Alps of Europe, with its varieties, are very useful for the rockery. R. Wilsoni and
R. arbutifolium are of garden origin. The few mentioned by no means exhaust the
species which are valuable for planting, as there is quite a large collection of
species alone. There is, besides the evergreen, the deciduous section of Rhododendrons,
which is familiarly known as the Azalea, and which gives one of the finest displays
of the season. It will be sufficient to give the species alone, for it is well known
that it is from these so many of the fine hybrids have been produced : — R.
calendulaceum, R. flavum, R. nudiflorum, R. hodora, R. rhombicum, R. sinense (syn.
Azalea mollis), R. Vaseyi, and R. viscosum, the " Swamp Honeysuckle." In all nurseries
of repute a large quantity of good hybrids are offered under names adopted by the
trade. T.P.
RHUS. This genus is comprised of small deciduous trees and shrubs. It is a very

useful subject for rough shrubberies. The most prominent forms are R. cotinoides,

the " Chittam Wood ; " R. Cotinus, the " Venetian Sumach ; " R. glabra, the " Smooth

Sumach ; " and R. Osbeckii. T.
RIBES (Flowering Currants). These old-fashioned garden shrubs are general favourites,

with their profusion of bright flowers so welcome in the early Spring. They grow

readily in most soils. R. aureum, the " Buffalo or Missouri Currant " (with yellow

flowers), R. cerum (white flowers), Gordonianum (a hybrid, sanguineum x aureum) ;

R. sanguineum, the ' Flowering Currant," and its varieties are all handsome. R.

speciosum (syn. R. fuchsioides), with red flowers resembling a fuchsia, is a very

pretty form. T.S.
SAMBUCUS (Elder). Suitable shrubs for large masses of foliage in shrubberies. The best

species and varieties are S. canadensis ; S. nigra, the " Common Elder," with its

varieties, S racemosa, the " Red-berried Elder ; " while S. r. laciniata, a cut-leaved

form, and S. r. plumosa aurea, a splendid golden variety, are the most serviceable.
SKIMMIA. Dwarf evergreen shrubs having thick, fleshy foliage, and bearing heads of

white flowers in the Spring and red berries in the Autumn. The chief species are

S. Fortunei, S. japonica, and S. laureola. T.S.
SNOWBERRY. See SYMPHORICARPUS.
SPARTIUM JUNCEUM, the ' Yellow Spanish Broom," belongs to the Order Leguminosae.

It should be more largely planted than at present, as it gives a fine display of

yellow flowers. T.
SPIRAEA. A large genus comprising many shrubby species. The most useful are S.

Aitchisoni, S. arguta, S. bracteata, S. bullata, S. discolor, S. Douglasii, S. japonica and

its varieties, especially S. j. " Anthony Waterer." Other forms are S. prunifolia,

S. Lindleyana and S. Thunbergi. T.S.

299

TREES AND SHRUBS FOR GARDEN AND PARK.

Flowering STAPHYLEA. A small genus with deciduous shrubs bearing white flowers. The most
shrubs. interesting are : S. colchica ; S. pinnata, the " Bladder-nut ; " S. Coulombieri, and

S. trifolia, the " American Bladder-nut." U.

SYMPHORICARPUS. A genus distinct owing to the fine display of white berries in the
Autumn. S. racemosus, the " Snowberry," is the type ; S. vulgaris is the " Indian
Currant," or "Coral-berry." U.T.S.

SYRINGA (Lilac). Shrubs of this genus deserve a place in every garden, not, as is usual,
merely for the sake of variety, but arranged in masses in borders devoted entirely
to them ; they are useful planted as a screen, either in the shape of a thick hedge
or border. It will be interesting to note some of the species and hybrids. S.
Chinensis, the " Rouen Lilac," S. Emodi and its varieties, S. japonica, S. persica,
the " Persian Lilac," with its varieties S. p. alba and S. p. laciniata ; while S.
vulgaris, the " Common Lilac," recommends itself. A list of hybrid forms are as
selected : S. alba, a. grandiflora, Charles X., La Ville de Troyes, Marie Legraye,
President Grevy, Souvenir de L. Spath, Lemoinei, Leon Simon and Michael Buchner.
T.S.U.

TAMARIX. An excellent seaside shrub. T. anglica, the " Tamarisk," with pink flowers,
T. chinensis, T. gallica, T. hispida, T. Pallasii and its lovely variety T. P. rosea,
are the best forms. T.S.

ULEX EUROP/EUS, the common "Furze, Gorse or Whin," as it is variously styled in
different districts. The variety U. e. flore-pleno is of double form. U. nanus and
U. Gallii are interesting ; the latter has masses of flowers late in the season. T.S.

VERONICA. This genus has many useful shrubs, especially for seaside gardens. The
best forms both for beauty of flower and foliage, are V. Andersonii, V. anomala,
V. angustifolia, V. buxifolia and V. Traversii. S.

VIBURNUM. Most interesting and useful shrubs, very effective for the shrubbery. V.
Opulus, the " Guelder Rose," with V. O. sterile, the " Snowball Tree ; " are the best
known ; while V. acerifolium, " Dockmackie ; " V. Lantana, the " Wayfaring Tree ; "
lentago, the " Sheep-berry ; " V. Tinus, the " Laurustinus ; " V. plicatum and V.
tomentosum, with its varieties, are very interesting. A very promising species named
V. Carlesii, which is very sweet-scented, deserves to have a sheltered position. T.S.

WEIGELA. See DIERVILLA.

XANTHOCERAS SORBIFOLIA. A large deciduous shrub, bearing racemes of white flowers
with a blotch at the base of the petal. It is worth growing as it is a very
handsome shrub.

ZENOBIA. An Ericaceous shrub growing some 2% ft. high. It is very pretty when
planted in a mass ; it bears white flowers in June. The varieties Z. pulverulenta
and Z. quercifolia are good forms.

EVERGREEN SHRUBS.

Evergreen In addition to the foregoing there are certain evergreen shrubs, grown entirely for

shrubs. their foliage. There is not a great number of forms, but as a class they are amongst

the most valuable material which the garden maker has at his disposal. For the most
part they are extremely hardy and suitable both for town and seaside gardens.
AUCUBA. An evergreen largely used in town gardens, but often planted to the exclusion
of choice shrubs. There are two species, A. japonica, with a host of varieties, and
A. himalaica from the Eastern Himalaya.

Buxus SEMPERVIRENS, the common Box, is valuable as a town plant, as undergrowth
or for shady borders ; also for the formation of hedges or as single specimens for
clipping or otherwis(e. The best varieties are the Handsworth box, a bright shiny
greyish-green variety, which has somewhat larger leaves than the ordinary one, and

300

TREES AND SHRUBS FOR GARDEN AND PARK.

a new broad-leaved variety, called B. s. latifolia nova, which is darker in colour Evergreen
than the preceding. Another very useful variety is B. s. myrtifolia, while quite a shrubs.
large number of varieties of B. sempervirens are offered by nurserymen. The
" Edging Box," is B. s. suffruticosa. T.S.

EUONYMUS, a class of shrubs which is indispensable for planting in seaside or town
gardens. In London, there are few if any shrubs which succeed so well, whilst
the number of diverse varieties almost makes it possible to make an effective
plantation by their use alone. E. japonicus is the evergreen type. It is not
necessary to name any of the varieties, as they are all good and effective. E.
radicans and its varieties should be used for low carpet shrubberies or as a border.
S.T.

ILEX (Holly). Hollies are of all evergreen shrubs the most reliable. Their extreme
hardiness in all sorts of positions, their power to withstand smoke and chemicals,
and the fact that, whilst preferring a moderately heavy loam, they succeed on almost
any soil, growing in shade or sun, coupled with their power to withstand strong
draughts and biting winds, gives them a unique position among evergreen shrubs.
Moreover, hollies are interesting from the fact that they are truly British,
most of the varieties having sprung from the common Ilex Aquifolium. From the
numerous varieties now grown only a few are selected, but this list will be found
quite long enough for practical purposes. Taking the green varieties first, the
following are all good. S.T.U.

ILEX AQUIFOLIUM, The " Common Holly," invaluable ILEX A. FRUCTOLUTEO, yellow berried. This variety
for hedges. has the attraction of bearing its beautiful

,, A. BALEARICA. yellow berries on very young plants, but apart

,, A. CONTORT A (Corkscrew Holly). This variety from this it is an excellent green holly.

is of moderate growth and compact. ,, A. LAURIFOLIA. Of all the green hollies this is

„ A. DONNINGTONENSIS. An excellent variety for the handsomest, its fine dark glossy leaves

withstanding the smoke of towns. giving it a massiveness which renders it a

,, DAHOON OR I. A. SCOTICA. A very hardy very desirable subject for the back of the

smooth-leaved variety. shrubbery borders.

„ A. FEROX (Hedgehog Holly), a dwarf variety „ MADERIENSE. Bears handsome red berries on

with very prickly leaves. The plant is of young plants.

very compact habit, more inclined to make ,, MINORCA, syn. balearica. A small-leaved variety,

a spreading than an upright bush. excellent for borders.

,, A. HODGKINSII. Probably the best of the broad- ,, MYRTIFOLIA, Myrtle-leaved. Also a small-leaved

leaved varieties, and one which is a great variety : the stems of this holly add much

favourite with all town gardeners. It is a to its effectiveness.

sturdy grower and makes a very hand- ,, PLATYPHYLLA. A variety introduced from the

some shrub. Canary Islands.

The following are gold and silver variegated varieties : —
ILEX AQUIFOLIUM ARGENTEA MEDIO-PICTA, " Silver ILEX A. AUREA PENDULA, " Waterer's Gold Weep-

Milkmaid," a great favourite. ing."

„ A. ARGENTEA REGINA " Silver Queen," the best „ A. FLAVESCENS, " Moonlight."

of the silver Hollies. ,, A. FEROX ARGENTEA, " Silver Hedgehog Holly "

„ A. ARGENTEA MARGINATA. ,, A. HANDSWORTHIENSIS, " HandSWOrth New Sil-

„ A. AUREA REGINA, " Golden Queen." This may ver."

be regarded as the finest of all the variegated „ A. LATIFOLIA AUREO-MARGINATA.

Hollies, and makes a splendid tree, as the ,, A. WATERIANA.

leaves are large and of a beautiful golden
colour.

LAURUSTINUS. See Viburnum tinus under flowering shrubs.

LAVANDULA (or Lavender). No garden which seeks the beauty of homeliness can dispense
with the beautiful gray-leaved bushes of Lavender and its becoming associate Rose-
mary, which give out their sweet odours when rubbed, and have the added charm
of their blue-gray flowers. They are quite acquisitions for hot, sandy soils and are

301

TREES AND SHRUBS FOR GARDEN AND PARK.

Evergreen proof against prolonged droughts. Lavender looks best in long hedges or masses,

shrubs. and is best propagated by early Summer cuttings. After the third or fourth year

of growth the bushes deteriorate and need replanting.

PRUNUS LAUROCERASUS. (syn. Cerasus Laurocerasus), the " Laurel," is so well known as
to require little notice here. So many gardens seem to be planted entirely with
them that a word of caution is necessary for, owing to their vigorous growth, they
will oust the more beautiful but slower-growing shrubs unless kept steadily within
bounds. Laurels should generally be considered as nursers, planted to furnish the
beds and give protection to other shrubs until they are sufficiently established to
take care of themselves, when they may be lifted and used elsewhere as under-
growths, for which purpose they are invaluable. They may also be planted
permanently in places where a quick-growing screen is required, or for furnishing
a steep bank with foliage instead of grass. Laurel hedges are not, as a rule, a
great success, as in a few years they become ragged and woody at the
bottom. The best form for this purpose is P. L. caucasica, which, if kept low
and trimmed with a knife instead of with shears, makes a fairly good fence. As an
undergrowth P. L. rotundifolia is probably the best variety. P. L. latifolia makes a
fine shrub if kept carefully pruned. Other varieties are only interesting as botanical
specimens. T.S.

PRUNUS LUSITANICA (syn. Cerasus lusitanica), the " Portugal Laurel," is in every way a
most valuable shrub, and is adapted to any position, whether windy or exposed,
and will do well in most town gardens. For hedging it is superior to the common
Laurel, the smaller dark leaves giving a neater appearance. The small-leaved
varieties are very good. T.S.

PHILLYREA. These comparatively little known shrubs are very similar in appearance and
growth to small-leaved evergreen Oaks. They make fine bushes, growing up to 8
or 10 feet in height ; they succeed in most soils, and are valuable for town or
suburban gardens, or for cold, windy situations. The best species and varieties
are P. angustifolia, P. latifolia with its varieties, P. ilicifolia and P. rotundifolia ;
P. media, with P. m. buxifolia, P. oleaefolia and P. Vilmoriniana. T.S.

QUERCUS. This genus includes many very useful evergreen trees, which in some localities
are invaluable. This is especially so near the coast or in suburban gardens which
are near smoky towns. Along the South and West coasts of England they grow
and succeed quite close to the sea, but in many places along the East coast,
especially if in exposed situations, they are not so successful. The effect of a
short avenue of Evergreen Oaks, more particularly when the branches meet over the
path, is very fine indeed, while for a wind screen they are excellent, the density of
their foliage forming a veritable wall of greenery. Evergreen Oaks are very difficult
to establish unless they are purchased in pots, in which way many nurserymen
grow them. The best forms are O. Ilex, the " Holm Oak," and its varieties ;
Q. acuta Q. coccifera, the " Kermes Oak ; " Q. glauca and Q. phillyreoides. T.S.

ROSEMARY. Rosemarinus officinalis. This hardy evergreen shrub should be found,
together with Lavender, in every garden. It is effective all the year round, and
especially in Winter. Rosemary is best propagated by early Summer cuttings ; it
prefers the base of a low wall, but it does not resent hot, sandy soils and full
exposure to the sun.

302

FIG. 365. — CLIMBERS AT WOOD. DEVONSHIRE, LOOKING TOWARDS THE HOUSE.

FIG. 366.— CLIMBERS AT WOOD, DEVONSHIRE, LOOKING AWAY FROM THE HOUSE.

CHAPTER XIX.

Climbers, the jaunty prodigals of the garden, led by the irrepressible ivy green
or the all -enveloping Virginian -creeper, so resplendent in Autumn, are invaluable in
almost every situation. From the tangled forest brake where added vegetation is
superfluous, to the dingy slum where every green leaf is welcome, they intrude unabashed,
mounting up by their clinging tendrils and flinging out their prehensory masses and
sprays. In addition to their beauty of foliage and blossom, they possess, in the honey-
suckle and its kindred, auxiliaries which win us by their odours rare and sweet, which
secure them the desired recognition. Everywhere they gain a place from economic
reasons ; the profuse display which they make for so little ground space afforded, gives
them a decided popularity beyond that of self-supporting plants. In the garden they are
beautiful trained over verandahs, forming sheets of pleasing foliage, delighting the eye
with their brilliantly coloured flowers on backgrounds of cool greenery, making shaded
walks and long protected bowers, where we can enjoy at sultry noon the coolness of
declining day. Wherever there are terrace walls fronted with flower beds, the general
effect is assisted considerably if the wall is clothed with the foliage of choice Ivies,
Ceanothus, or Cratsegus, which make a much more effective background for flowers
than brick or stone.

There are limitations and bounds within which climbers should be restrained. Too
Sometimes the grosser common ivy, which can subsist on the mortar in walls even when prodigal
severed from the root, and the Virginian-creeper are allowed to overstep these, as when climbers.
they are allowed to make costly and dangerous inroads into the walls and roofs of
habitations, or hide beautifully dressed stonework and even fine carving. With thought-
less people this brings discredit on the whole family of the garden designer's
reinforcements, whereas, if but a few moments' reflection were given to the proper selection
of climbers, trouble would not follow. Similar remonstrances might be expressed when,
in those parts of the grounds where it is desirable to have a clean-cut appearance of
columnar tree trunks and shorn grass, ivy and honeysuckle are allowed to grow over both
young and old trees indiscriminately, and envelope all in an atmosphere of unrestraint.

On the other hand, much needless expense is often lavished upon the adornment and
detail of supplementary buildings such as entrances, gate piers and even outbuildings,
where, if a little foresight had been exercised and the climbers taken into account when
planning, any rough foundation of broken stone or brick combined with cement roughcast
would have answered the purpose, though in illustration No. 367 the eye demands the
clear-cut lines of the noble gate piers to form a complement to the fine wrought
iron, there being sufficient vegetation in the Scots firs and the climber-clad walls.

305

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

Climbers. In the following list of climbers are included a number of plants, such as Garrya

elliptica and Berberis Darwinii, which are of a shrubby growth. These are intended for
covering low walls, or for planting in positions against the house or other buildings of
no great height : they are most effective, for instance, placed under a bay or oriel
window. They should be trained as half climbers and half bush, the principal branches
being secured to the walls, but the lateral shoots allowed to grow outwards.
ABELIA. A pretty genus of small

shrubs, which are fitting subjects

for covering walls. A. chinensis,

with pinkish flowers ; A. flori-

bunda, flowers rosy purple in

colour ; and A. triflora, blooms

very sweet scented, deserve places

on a sheltered wall.
AMPELOPSIS VEITCHII. See VITIS.
ARISTOLOCHIA SIPHO, the large-leaved

climber which is growing over

Professor Ruskin's house at

Brantwood. It is a deciduous

species, but the shoots are green

in Winter. This plant flourishes

in almost any aspect.
AZARA MICROPHYLLA, a small-leaved

and very showy hardy evergreen

shrub or climber, with numerous

small green flowers which are

very fragrant.
BUDDLEIA, as described in the list of

shrubs, is an excellent shrubby

climber for covering walls, and

one which does well by the sea.

The best forms are B. variabilis,

B. v. Veitchiana, and B. globosa.
CALYSTEGIA, the " Bear-bind," be-
longing to the Order Convolvu- FIG. 367. — NOBLE ARCHITECTURE OBSCURED BY TOO RAMPANT

laceae, makes a splendid climber, CLIMBERS.

and covers quickly. The following are distinct forms : C. hederacea, C. sepium, the

" Common Bear-bind ; " C. Soldanella, and C. macrostegia.
CARPENTERIA CALIFORNICA, an ornamental tall-growing shrub, thriving in any good

soil, but requiring the protection of a South wall. It has long lanceolate leaves,

white on the underside, and white flowers.
CEANOTHUS. In warm sheltered positions, or near the coast, few climbers surpass the

Ceanothus. The habit of the plant, which is half shrubby and evergreen, commends

it for many positions where it is difficult to find a suitable climber, as for instance

round a verandah pillar, clothing a piece of blank wall, or high terrace wall.

It is not perfectly hardy in Scotland or the North of England, and resents a

cold clay soil. The best 'forms are C. americanus, the " New Jersey Tea," with

white flowers ; C. azureus (blue), C. divaricatus (pale blue), C. papillosus, with

narrow leaves and blue flowers ; C. rigidus, flowers a splendid rich blue colour ; C.

thyrsiflorus, the " California Lilac," and C. Veitchianus. A large number of garden

hybrids are offered by nurserymen, the best being Gloire de Versailles (blue), Indigo

306

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

(the finest of all the hybrids), George Simon (rose), Albert Pettet (rose), Gloire de

Plantieres (blue), and Perle Rose.
CHIMONANTHUS FRAGRANS, with C. F. GRANDIFLORUS, makes a splendid fragrant wall

plant suitable for a sheltered position.
CONVOLVULUS, the " Bindweed," is a very common climber, but nevertheless pretty.

There is quite a large number of forms, all of which are useful.
COTONEASTER. Many of the species in this genus have rather a flat form of growth,

and adapt themselves readily for covering walls. C. microphylla, C. angustifolia,

C. Simonsii, and C. rotundifolia are suitable for covering low walls or for training

up the jambs and mullions of a window.
CRAT^EGUS PYRACANTHA, with its clusters of

red berries in the Autumn and Winter, is

useful for covering a wall ; the flowers are

similar to most other thorns. C. P. Lelandii

is an improved variety of the type.
CLEMATIS. Although decidedly popular, these

climbers are not employed as extensively

as they deserve to be. The ease with

which they can be reared ought in itself

to be sufficient inducement to extended

cultivation. For giving a picturesque char-
acter to a cottage in the least possible

time C. montana is difficult to surpass ;

for the porch C. Jackmanii, with its

beautiful purple flowers will, within a very

short time, make a show ; for a pergola,

C. flammula, C. montana, or C. vitalba are

excellent. The choicer varieties, such as

C. . Beauty of Worcester, C. Anderson

Henryi, etc., make a grand show when

grown laterally over wooden pillars ; in

fact, there are few positions in which

FIG. 368.

Clematis of some sort may not be planted.

No fear of monotony from lack of varieties need be entertained, as the number
obtainable are quite sufficient security against this. The following are all good : —

Climbers.

ALBA MAGNA, white flowers with purple
brown anthers

ANDERSON HENRYI, one of the best ;
creamy white large flowers ; effect-
ive if trained over trellis

BEAUTY OF WORCESTER produces single
and double flowers on same plant ;
bluish violet, with white stamens.
A vigorous grower and a remarkably
free and continuous bloomer, flowering
at almost every joint ...

BLUE GEM, pale cerulean blue, fading
to satin mauve

COUNTESS OF LOVELACE, bluish violet,
double

DUCHESS OF EDINBURGH, an excellent
and sweet-scented variety with dou-
ble white flowers

Time of
Flowering.

July to Oct.
July to Oct.

June to Oct.
July to Oct.
June to July.

June to July.

FAIRY QUEEN, pale flesh-pink bar

FLAMMULA, sweet-scented, white, re-
commended for pergolas

JACKMANII, intense violet- purple
,, ALBA, fine white
RUBRA, fine red

LADY CAROLINA NEVILLE, French white
with mauve bars

LADY NORTHCLIFFE, blue

LORD NEVILLE, dark plum colour ; the
stamens are much lighter, but the
anthers are dark ; the flowers are
crinkled, which, added to the colour,
makes the plant distinctive

Louis VAN HOUTTE, violet purple, a
free grower and hardy

Time of
Flowering.
July to Oct.

June to July.
July to Oct.
July to Oct.
July to Oct.

July to Oct.
July to Oct.

July to Oct.
June to Oct.

307

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

Climbers. Time of

Flowering.

MADAME EDOUARD ANDRE, is of the
Jackmanii type, but eclipses it in
colour which is brilliant crimson, a
colour hitherto unknown amongst
Clematis. Very hardy, and a rapid
grower ... ... ... ... ... July to Oct.

MARCEL MOSER, beautiful mauve vio-
let, with red bar July to Oct.

MONTANA. Although a small-flowered
variety, this is one of the most useful
of climbers, growing almost anywhere.
It is inclined to get ragged in appear-
ance if not trained or pruned ... May to June.

M. RUBENS, a red form of the above

MRS. GEORGE JACKMAN, satin white,

very beautiful ... ... ... June to Oct.

Miss BATEMAN, white, red anthers ... May to July.

Time of

Flowering.
July to Oct

NELLY MOSER, pink

PURPUREA ELEGANS, deep violet pur-
ple, one of the best of its class ; very
effective planted in conjunction with
C. Anderson Henryi ... ... ... July to Oct.

PRINCESS BEATRICE. A variety of
merit. The flowers, 6 to 8 inches
across, are of great substance, the
petals being broad and overlapping
each other. The colour of the flower
is silvery lilac ... ... ... ... July to Oct.

SIR GARNET WOLSELEY, slaty-blue ... May to June.

VENUS VICTRIX, a fine double-flowered
variety, lavender-blue, and very beau-
tiful July to Oct.

WILLIAM KENNETT, deep lavender ... June to Oct.

Other good species are C. alpina, C. aromatica, C. campaniflora, C. crispa, C. florida,
C. orientalis, C. paniculata, C. patens and C. viticella.

CYDONIA JAPONICA, the " Japanese Quince," is a great favourite for training against a
wall, and has red flowers. There are numerous other varieties with different
coloured blooms. It is also useful as a shrub.

ESCALLONIA. A popular climber for seaside gardens, excellent for clothing low buildings
or walls. The best are E. macrantha, reddish pink ; E. Philippiana, with white
flowers ; and E. langleyensis, (E. Philippiana x E. macrantha) bright scarlet. E.
exoniensis is a very beautiful white form.

EUCRYPHIA BILLARDIERI. This species is generally treated as a greenhouse shrub, but
is quite hardy grown in peat and sand against a South wall. It bears very showy
white flowers in great profusion. Other species are E. cordifolia .and E. pinnatifolia.

GARRYA ELLIPTICA. This, although usually considered a shrub, makes a most excellent
wall plant, its foliage resembling that of an evergreen oak. Its specific beauty is
to be attributed to the numerous pale green hazel-like catkins which hang
from the plant throughout the Winter months, thus adding interest to the walls at
a time when most climbers are dormant.

HEDERA (Ivy). H. helix, the Common Ivy, is well known, and everyone realizes its
usefulness. The most distinct forms from the trailing sections are H. H. algerien'sis
variegata, H. H. atropurpurea, H. H. angularis, H. H. foliis aureis, H. H. canariensis,
the " Irish Ivy; " H. H. Cavendishii, H. H. Crippsi, H. H. maderiensis, H. H. variegata,
H. H. palmata aurea, H. H. rhombea, and a host of others. H. H. arborescens, H. H.
foliis argenteis marginatis, H. H. canariensis arborescens, H. H. digitata, and H. H.
Raegneriana, are worthy examples of the tree section.

HELICHRYSUM ROSMARINIFOLIUM. " Snow in Summer." A beautiful shrub admirably
adapted for training over a terrace wall, but it is also hardy in the open border in
the South of England.

J \SMINUM. A beautiful genus of well-known climbers, the most useful being J. officinale,
the " Jessamine," with the variety J. o. afnne. Interesting species are J. nudiflorum,
with yellow flowers, which open in the Winter months ; also J. humile and J.
fruticans, while J. primulinum, an introduction from Yunnan, should be given a very
sheltered position.

LONICERA PERICLYMENUM, the "Honeysuckle" or "Woodbine," is well known in Europe
as a beautiful climber. A great variety of forms is offered by nurserymen, the best
being L. P. belgica, L. P. serotina ; also the nursery forms of late and early Dutch
Honeysuckle ; L. sempervirens, the " Trumpet Honeysuckle ; " L. Caprifolium, L.

308

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

japonica, and the varieties L. j. Halliana, L. j. flexuosa, and L. j. aurea-reticulata. Climbers.
Although so well known, they are not planted as freely as they deserve to be. For
walls having a North-west and North-east aspect, and for planting in shade, they are
indispensable ; whilst for bowers, covering trellis, and training up pillars they have
few equals, combining beauty of flower with the most delicious scent.
MAGNOLIA GRANDIFLORA, the " Bull Bay," with its various forms, are excellent evergreens
for wall planting ; while M.
conspicua, the " Yulan," M. c. Sou-
langeana and M. Lennei are good
deciduous forms. (111. No. 369).

OZOTHAMNUS ROSMARI NIFOLIUS, ail

Australian shrub requiring the

protection of a wall ; it bears

heads of white flowers in dense

corymbs during July ; the leaves

are small.
POI.YGONUM BALDSCHUANICUM, a rapid

grower with panicles of pinky-
white flowers.
SOPHORA VICIFOLIA, a most useful wall

plant.
TRACHELOSPERMUM CROCOSTOMUM is a

beautiful climber with pale yellow

flowers, which are very sweet-
scented. It is most suitable for a

wall in a sheltered position.
TROP^OLUM SPECIOSUM (Flame Flower).

The scarlet-flowered climber which

makes such a splendid sheet of

colour in front of many Westmor-
land cottages. It succeeds best

with an East or West aspect.
VITIS INCONSTANS (syn. Ampelopsis

Veitchii). One of the most

beautiful of climbers, charming

alike in Spring-time, when bursting

into leaf, and gorgeous in the

Autumn when the leaves are

touched by the first slight frost.

This climber does not like new

cement work ; it is, however, very

easy to rear, and once established

grows at a remarkable speed, re-
quiring no nailing, and flourishing

FIG. 369. — MAGNOLIA CONSPICUA SOULANGIANA.

in almost any atmosphere.

Another variety is V. purpurea, a seedling of great merit, which has purple
leaves. Other good and interesting climbers in this genus are V. Cognetiae, with
large leaves ; V. quinquefolia, the " Virginia Creeper ; " V. vinifera, the " Grape Vine ; "
V. v. purpurea, with purple leaves ; V. Romaneti, V. Thunbergii, and many others.
V. Henryana is a new variety with beautiful mottled leaves, but not yet proved
hardy in the Northern counties.

309

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

WISTARIA. A beautiful climber which covers very quickly. The forms are W. chinensis, W.
japonica, W. frutescens, and W. multijuga, with racemes of flowers eighteen inches long.

HARDY ROSES FOR WALLS, PILLARS, AND BOWERS.

Roses, The great beauty of many of the new hybrid perpetual roses, and the desirability

of finding a place for them, is fully acknowledged, but 1 do not think they should
occupy the entire area available to the exclusion of many varieties which helped to
make, and which still make, some of the older gardens so delightful. The fine old
Scotch climbing roses, so wayward in their growth, but covered with clusters of
fragrant flowers, the Banksian and Boursaults, the old Provence and cabbage roses,
notwithstanding all the recent improvements, might still be planted with great

advantage in our gar-
dens. Roses have, to
the garden designer,
other qualities than
mere size, and for
this reason he is
much more interested
in the good work
done by rose-growers
in the raising of the
many magnificent
varieties of hardy tea
roses, than in some
of the later additions
to hybrid perpetuals.
The varieties of single
roses and briars are
now very numerous,
but unfortunately the
flowering season is a
very short one. It

is only necessary to mention Paul's Carmine Pillar and Lord Penzance's Sweet
Briars to realize how much our gardens have been enriched by the indefatigable
industry of rose enthusiasts ; and we are equally indebted to them for the
re-discovery of old favourites and the importation of many varieties, such as the
Crimson Rambler and the finer forms of Wichuraiana.

FIG. 370. — CLIMBER COVERED TERRACE WALLS.

AYRSHIRE ROSES including Bennett's Seedling, pure
white and strong ; Dundee Rambler, white tinged
pink ; Felicit6 Perpetue, creamy white, very dou-
ble in clusters, an evergreen variety ; Queen of the
Belgians, white ; Splendens or Myrrh-scented,
flesh colour.

BOURSAULT. There are a number of varieties of Bour-
sault roses, but the best for general planting are
Amadis, a large crimson-flowered variety ; Elegans,
crimson, purple and white stripes ; and Inermis
a bright red.

BANKSIAN FORTUNEI, white and sweet. There are

also the common white and yellow varieties, both
of which are beautifully scented.

CLIMBING DEVONIENSIS, creamy white, very large and
full.

GLOIRE DE DIJON, yellow, tinted with salmon, a very
fine rose — the rose of roses, without question the
finest and most useful climbing rose in cultivation.

MACARTNEY, an extremely pretty single white rose
which may be trained over walls, fences, pergo-
las, trellis, or almost anywhere where freedom of
growth is required.

MULTIFLORA, pale flesh.

MOSCHATA, the " Musk Rose " (syn. Brunonii). As the name implies, these are fragrant.
The following are good, viz. : Fringed, which is a pink colour with cup-shaped
serrated petals ; Princess de Nassau, with yellow cup-shaped flowers ; and Rivers,
which has cream-coloured flowers.

310

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

NOISETTE ROSES. Most of the roses in this class bloom in clusters, they are the finest Roses.
of roses for South and West walls. For planting against terrace walls there are very
few climbers to equal them. Most of them bear large and handsome flowers, are highly
fragrant, and of vigorous climbing habit. A few of the best are :•-

AIMEE VIBERT, white and continuous. KEVE D'OR, deep yellow, sometimes coppery.

BOUQUET D'OR, deep yellow, shaded copper. SOLFA, sulphur, large and very double.

CELINE FORESTIER, lemon, good free bloomer. TRIOMPHE DE RENNES, deep lemon, large, full and
CLOTH OF GOLD, yellow, large and very splendid. fine.

COQUETTE DES BLANCHES, pure white, very fine. WILLIAM ALLEN RICHARDSON is one of the best known
JAUNE DESPREZ, pale lemon. popular roses in cultivation. This variety is,

LAMARQUE, creamy white. owing to its beautiful foliage and profusion of rich

MADAME ALFRED CARRIERE, large white fragrant flow- orange-coloured flowers, worthy of a position on

ers ; a fine pillar rose. every rose wall.

CRIMSON RAMBLER (Polyantha Rose). This variety is invaluable to the garden designer
for clothing a low trellis or pergola quickly, or for breaking up plantations of
evergreens with pillars of brilliant colour. Other fine varieties are :—

EUPHROSYNE, pink. ELECTRA, yellow.

BLUSH RAMBLER, pink. RUBIN, crimson.

LEUCHTSTERN, white and pink. TAUSENDSCHON, pink.

THALIA, white. FLOWER OF FAIRFIELD, crimson.

PSYCHE, pink. TRIER, white.

WALTHAM RAMBLER, white and pink. THE GARLAND, white.

SINGLE CLIMBING AND PILLAR ROSES AND BRIARS. A most interesting and useful class
of roses, which latterly has been overlooked ; some of the varieties are charming
for training up pillars. The following are the most distinct : — -Rosa alpina, the
parent of the Boursaults, is a strong grower, flowering very early in the Spring ;
colour rosy red. Rosa gigantea (Indian rose), an almost continuous bloomer ;
several varieties are obtainable, but the pink and crimson forms are the best.

AUSTRIAN BRIARS (Copper and Yellow). For planting along a low trellis or short pillars,
these give, when in flower, an effect unlike any other rose. The colour alone is
sufficient to attract attention ; to this is added a flower of perfect shape, borne in
such profusion as to make one mass of colour. Both varieties are perfectly hardy,
and have the fragrance of the common sweet briar. These roses flower on the
shoots of the preceding year's growth.

PAUL'S 'CARMINE PILLAR AND SINGLE WHITE, are useful for planting against walls or
trellis, or for forming rose banks ; both are of vigorous growth and very floriferous ;
Paul's Carmine especially may be considered as one of the most beautiful single
roses in cultivation.

LORD PENZANCE'S SWEET BRIARS may be classed amongst the finest introductions to our
gardens in recent years. This will be realized when it is stated that to the fragrance
of the old sweet briar has been added beauty of form and size and colour of flower ;
the blooms being as large as those of Austrian briars, while the colours range from
white to dark crimson. Briar roses will be found most useful for forming masses
of colour on the lawn or for planting rough land or banks ; they may also be used
for pillars, low fences, or walls, or for training as loose hedges. The best varieties
are : — Amy Robsart, Anne of Geierstein, Brenda, Catherine Seyton, Edith Bellenden,
Flora Mclvor, Jeanie Deans, Julia Mannering, Lady Penzance, Lord Penzance,
Lucy Ashton, Lucy Bertram, Meg Merrilies, Minna, and Rose Bradwardine.

HYBRID TEAS AND PERPETUALS FOR CLIMBING. This class is easily distinguished from
others by the peculiar and delightful fragrance of the flowers and its vigorous
growth. It is invaluable as supplying the various shades of yellow wanting
amongst the hybrid perpetuals, and also because the many varieties are so
charming for covering terrace walls facing South. A warm aspect with well

CLIMBERS FOR WALLS, PERGOLAS AND TRELLIS.

Roses.

drained soil suits them best. The following are some of the best :—

GLOIRE LYONNAISE, white.

IRISH ELEGANCE, single orange scarlet.

,, ENGINEER, single scarlet.

„ GLORY, single pink.
REINE MARIE HENRIETTE, red.
WALTHAM CLIMBER, red.
CHESHUNT HYBRID, red.

CLIMBING CAPT. CHRISTY, pink,

CAROLINE TESTOUT, pink.
„ FRAU KARL DRUSCHKI, white.
„ JULES MARGOTTIN, carmine.
,, KAISERIN A. VICTORIA, white.
„ LA FRANCE, pink.
„ MRS. W. J. GRANT, pink.
„ PAPA GONTIER, red.

WICHURIANA ROSES, a Japanese Rose with many hybrids of which the best are Dorothy
Perkins, pink ; white Dorothy Perkins ; Lady Gay, pink ; Hiawatha, single red
in clusters, with white eye ; Paul Transon, pink ; Alberic Barbier, yellow ; Jersey
Beauty, single cream ; Christian Curie, pale pink ; Shower of Gold, yellow.

A list of bush roses for general garden vise is given below under the three
headings of Teas, Hybrid Teas and Hybrid Perpetuals.

APRICOT AND COPPER.
DR. GRILL.
MME. FALCOT.
MME. JEAN DUPUY.
META.
SAFRANO.

SOUVENIR DE C. GUILLOT.
SUNSET.
LADY ROBERTS.

PINK.

ANNA OLIVIER.
BRIDESMAID.
CATHERINE MERMET.
HON. E. GIFFORD.

YELLOW AND COPPER.

LE PROGRES.

GUSTAVE REGIS.

MME. RAVARY.

MME. FERNET DUCHER.

BETTY.

PEGGY.

EDU MEYER.

RAYON n'OR.

WALTER SPEED.
PINK.

MME. ABEL CHATENAY.

RED.

ALFRED COLOMB.
A. K. WILLIAMS.
CAPT. HAYWARD.
CHARLES LEFEBVRE.
DUKE OF EDINBURGH.
DUPUY JAMAIN.
FISHER HOLMES.
GENERAL JACQUEMINOT.
MARIE BAUMANN.

TEAS.

PINK— CONTD.

MME. CUSIN.

MAMAN COCHET.

MURIEL GRAHAM.

MRS. MYLES KENNEDY.
WHITE.

INNOCENTE PIROLA.

NIPHETOS.

WHITE M. COCHET.

THE BRIDE.
YELLOW.

COMTESSE DE NADAILLAC.

FRANCISCA KRUGER.

GLOIRE DE DIJON.

HYBRID TEAS.

PINK— CONTD.

LADY ASHTOWN.
CAROLINE TESTOUT.
VISCOUNTESS FOLKESTONE.
EARL OF WARWICK.
MRS. W. J. GRANT.
WM. SHEAN.

KlLLARNEY.

LA FRANCE.
JOSEPH LOWE.
PHARISAER.
PRINCE DE BULGARIE.

HYBRID PERPETUALS.

RED — CONTD.

SUZANNE MARIE RODOCANACHI.

ULRICH BRUNNER.

VICTOR HUGO.
PINK.

CLIO.

DR. WM. GORDON.

ELLEN DREW.

FRANCOIS MICHELON.

HER MAJESTY.

YELLOW— CONTD.

G. NABONNAND.

MME. HOSTE.

MARIE VAN HOUTTE.

MEDEA.

HARRY KIRK.

SOUVENIR DE PIERRE NOTTING.
RED.

PAPA GONTIER.

PRINCESS DE SAGAN.

MRS. ED. MAWLEY.

MRS. LAMBARD.

WHITE.

WHITE KILLARNEY.

L'lNNOCENCE.

KAISERIN AUGUSTA VICTORIA.
RED.

MARQUIS OF SALISBURY.

RICHMOND.

LIBERTY.

GRUSS AN TEPLITZ.

C. J. GRAHAM.

W. F. BENNETT.

LYON ROSE (Coral red).

PINK— CONTD.

MRS. JOHN LAING.

MRS. R. G. SHARMAN CRAW-
FORD.
WHITE.

BOULE DE NEIGE.

FRAU KARL DRUSCHKI.

MABEL MORRISON.

MARGARET DICKSON.

MERVEILLE DE LYON.

To the above
roses, both useful,

roses should be added the dwarf polyantha and the China
continuous blooming varieties for bedding.

312

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O

CHAPTER XX.

The garden designer works for different ends, and has different objects in view to
the collector, or the nurseryman distributor of hardy plants. They collect and display
the materials wherewith he composes his harmonies ; and he, not disdaining the full choice
presented — as an artist prefers a full range of colours wherewith to express his pictorial
presentment — prefers that the selective material be located in the reserve garden or
home nursery, where he can compare colours and educate and protect himself against
mistakes in planting the perennial borders. The list given makes no pretence of including
more than a fractional number of the really reliable hardy plants to be found in the
nurseryman's excellent lists, but is the result of a long experimental selection, and a
series of comparative tests, not only of hardiness, but also adaptability to varying soils
and localities, and includes only those which do not require special and difficult culti-
vation, and are suitable for planting in masses for colour effect.

To avoid disappointment it is necessary to point out first of all the impossibility of
obtaining flower borders which, as certain rhapsodical garden writers suggest, can be
maintained continuously gay for about ten months of the year. Successive floral
displays may be obtained within a restricted area but not continuously in the same
border. White sheets of snowdrops in February under the apple trees, carpets of lovely
crocus on the lawns in March, and waving banks of daffodils in the coppice in April,
are each in their places delightful, but the intervening patches of bare brown earth
amidst the colonies of bloom in the border are inevitable, unless great expense and time
are lavished upon them. But notwithstanding whatever has been said in praise of the
grand style, which must have display both in season and out of season, the underlying
purpose of this work is the encouragement of those garden lovers, who desire to see
their gardens grow and develop under their hands in homely beaut}?, and who, without
burdening themselves and converting a pleasure into a task, look to them for relaxation
and recuperation.

Such garden lovers as desire the unstudied grace of homely beauty and are content
with that which is beautiful in its season, will not mind broad intervening masses of
foliage or even patches of soil amidst the large clumps of flower ; there is always the
pleasant retrospect and forecast of what has been, or is to be, in seed or bud. If it
is imperative that there should be no bare interspaces, then the showy though fleeting
annuals may be called upon as reserves, or biennials such as Antirrhinums, Pentstemons
or Canterbury Bells, may give a more lasting result ; but annuals, if duly thinned out
and given sufficient room to flower and flourish, fulfil the purpose. Some of these

Successive

floral

displays.

315

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

such as the rose mallow so effective in town gardens, and the annual chrysanthemums
and larkspurs, might without hesitation be found places in every herbaceous border.

The border which is gay in April or May with daffodils, tulips, polyanthus, and
Brompton stocks, iberis and aubretias, may be brightly hued again in July and early
August with phlox, hollyhocks, speedwells, delphiniums, and the hosts of other plants
in flower at this season ; whilst the gardener who looked ahead would also ensure fine
colour effects in October and November from chrysanthemums, Michaelmas daisies and
pyrethrums, provided always that the borders are ample and spacious.

All the perennials enumerated might be planted at any time from March to Septem-
ber, provided they are obtained from the nurseries in pots ; or they may be planted
direct from the open ground from March to the middle of May, and at any time during
September.

No list of hardy perennials would be complete without a selection from the large
families of bulbous plants which make gay our gardens in Spring and early Summer.
I have therefore enumerated the most effective daffodils, wood hyacinths, and anemones.
Hardy ACANTHUS MOLLIS. A plant with fine, much serrated foliage, and flower spikes which

Perennials. often attain a height of 3 to 4 feet. An excellent plant for the wild garden.

ACHILLEA, Snowball. A fine border plant, bearing numerous heads of pure white flowers,
useful for cutting ; height 2 feet. A. Clavennse and A. tomentosa are dwarf vari-
eties useful for walls or the rock garden.

ACONITUM, or Monks Hood. An old-fashioned, strong-growing perennial. The finest are
A. napellus ; A. album ; A. versicolor, blue and white ; and A. autumnale, a
fine purple, flowers late into September ; it grows 3 to 4 feet high.
ADONIS VERNALIS. This variety bears large bright yellow buttercup-like flowers early in

Spring ; it has finely cut leaves, height i foot.

ALPINE PHLOX. A beautiful class of dwarf easily grown plants, suitable for growing
over rocks. To ensure success, plant in a good open soil. Amongst the best are P.
Vivid, fine bright pink ; P. Nelsoni, good clear white ; P. atropurpurea, a rich
crimson, flowering in the early Spring ; P. The Bride, white, and P. G. F. Wilson,
a pretty lilac.

ALSTROMERIA. A splendid class of plants for border decoration. A. revoluta is a good
orange colour, and A. aurea, pale yellow ; both are very useful for cutting and make
a fine show for bed or border.

ALYSSUM. The most useful for rockwork are A. alpestre, A. montanum, A. saxatile com-
pactum, A. saxatile plenum, a double variety, and A. citrinum ; they are all dwarf-
growing varieties with bright yellow-coloured flowers, and all do well on walls or in
a dry sunny position.

ANEMONE, the wind flower, provides a large and charming class of plants of easy
culture. The following should have a place in the garden : — Anemone apennina,
deep blue, and of dwarf and very free habit ; A. blanda, a fine deep blue ; A.
nemorosa Robinsoniana, a pretty pale blue ; A. ranunculoides, a bright yellow,
makes a fine contrast when seen growing amongst the blues, and has finely-cut
foliage ; A. nemorosa alba plena, the double white wood Anemone, one of the
finest and a free bloomer ; A. fulgens, the scarlet wind flower, bears pretty scarlet
flowers about an inch and a half across, it is of easy growth and most effective,
and grows about fifteen inches high ; A. japonica alba, a well known border
plant, growing 3 feet high, with numerous fine white flowers, it should be in every
garden ; A. japonica, has growth and habit similar to the above, but with rose-coloured
flowers.

ANTHEMIS BIEBERSTEINI, a very useful plant for walls, being a strong grower, and forming-
good tufts of silvery foliage.

316

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

ANTHERICUM LILIAGO, or St. Bernard's Lily, a good border plant of easy culture, bearing Hardy

fine spikes of pure white flowers ; about 2 feet high. A. liliastrum major is also a perennials.
fine border plant with white flowers ; both bloom during May and June.

ANTHYLLIS ATRORUBENS. A fine and most useful plant for a dry bank ; it bears heads
of dark crimson flowers somewhat resembling a large clover.

AQUILEGIA. A useful class of plants, better known as columbines. They vary in colour
and include whites, yellows, blues and purples. Amongst the best and most useful
are A. chrysantha, yellow ; A. vulgaris alba, white ; A. glandulosa, a fine blue- and -
white. These varieties are perfectly hardy, and do well in almost any position ;
height 2 feet.

ARMERIA PLANTAGINEA ROSEA, Sea Pink, is a very effective plant of dwarf habit, with
fine heads of rose-coloured flowers ; it grows 12 inches high, and blooms from May to
the end of July. A. p. alba is a white-flowered variety. A. cephalotes grandiflora,
bears large deep red heads of flowers :

height 2 feet.
ASPHODELUS RAMOSUS bears a fine bold

spike of white flowers ; it thrives in

almost any kind of soil, and should

be in every border ; height 2 feet.
ASTER OR MICHAELMAS DAISY. These are

indispensable as they continue to bloom

until the frost comes and blackens

them. There are a large number of

varieties of which the best are : A.

acris, 3 — -4 ft., pale blue and early ; A.

cordifolius elegans, 2 ft., small flower,

blue ; A. Elsie Perry, pink, 3 ft. ; A.

ericoides, small white flower, 3 ft. ; A.

Hon. E. Gibbs, small lavender flower,

3 ft. ; A. Lady Trevelyan, white, 4 — 5

ft. ; A. Mrs. Burrows, mauve, 4 ft. ;

A. Novi-Belgii R. Parker, large lavender,

4—5 ft., one of the best ; A. W. Mar-
shall, blue, 4 ft. ; A. Miss Southall,

mauve, 4 ft. ; A. Beauty of Colwall,

lilac blue, double, 4 ft. ; A. Lil Far-
dell, pink, 4 ft.
ASTILBE, see SPIR^A.
AUBRETIA. There are many varieties, from

which may be selected A. Leichtlini, a fine clear rose ; A. purpurea ; A. Firefly,

deep red ; A. Monthemi, large pale rose ; and Dr. Mules, rich purple. All do well

on a dry bank in ordinary soil. For rockwork or planting on rough dwarf walls

in conjunction with Alyssums and White Rock, they are lovely.
BOCCONIA CORDATA. An effective foliage plant of strong growth, bearing buff-coloured

spikes of flowers. Requires ample space, and is admirable for massing near water ;

height 5 to 6 feet.
CAMPANULA, of which there are many varieties most serviceable as border and wall plants ;

the best are C. persicifolia alba grandiflora and P. humosa with semi-double blue

flowers ; C. glomerata dahurica, is purple and grows 18 inches high. These varieties

flower about July, lasting to the latter part of August. C. macrantha has a good

effect when planted in woods, etc., throwing up its tall spikes of blue flowers, reaching

FIG. 372. — DELPHINIUMS.

317

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

Hardy a height of five feet, it is of very easy growth and succeeds almost everywhere.

perennials. C. marginata, a large white margined with blue, and Moerheimi, a semi-double white

are also excellent. Amongst the dwarf Campanulas the following are all good free
growers : — C. G. F. Wilson, a fine shade of purple, and a very free bloomer ; C.
carpatica alba, white ; C. turbinata, light blue ; and C. t. White Star ; C. bavarica,
blue, an exceptionally free grower ; and C. pusilla and C. p. alba, C. pulla, deep
purple, C. pulloides and C. Hostii alba, white, should also find a place.

CENTAUREA, or Knapweed. Amongst the finest c f perennials is C. montana rubra, with
numerous large feathery rose-coloured flowers, 2 feet high ; C. ruthenica, a pale
yellow variety with fine foliage, and C. macrocephala, a fine plant growing to a
height of 5 feet, with large handsome bright yellow flowers ; it is of rather coarse
growth, but looks well at the back of a border, where it can have plenty of room.
These varieties are particularly useful for cutting for house and table decoration.

CHEIRANTHUS ALPINUS, or Alpine Wallflower, is an exceedingly pretty plant, bearing a
profusion of bright yellow flowers in May and June ; height 6 inches.

CHRYSANTHEMUM MAXIMUM. C. Duchess of Abercorn, C. Queen Alexandra and C. im-
bricatum are all showy, large-flowering varieties of the common field daisy.

CIMICIFUGA RACEMOSA has foliage resembling the Spiraeas and bears feathery spikes of
white flowers ; height 3 feet.

CISTUS, Rock Rose, is effective when planted on dry banks or rockeries. There are
several free-flowering varieties of various shades of colour. A few of the best are
C. florentinus, a large white-flowering variety, very free ; C. algarvensis, a small-leaved
variety with bright yellow flowers and a dark ring round the centre of the flower,
and C. formosus, yellow.

COREOPSIS GRANDIFLORA. A splendid border plant with numerous large yellow flowers,
very useful for cutting purposes. It is certainly the best variety in cultivation.
It is of very free habit and blooms all the summer ; height 2\ feet.

CRAMBE CORDIFOLIA, a handsome plant bearing large spikes of white flowers in the same
manner as Gypsophila. It should be planted in masses and given plenty of space,
as it grows 6 feet high.

DELPHINIUM, or perennial larkspur, of which there are many varieties of all shades of
white, blue and purple, make a splendid display and need very little attention,
remaining in flower for about two months ; height 3 to 6 feet. No border of hardy
perennials can be complete without them.

DIANTHUS, the pink. A large family, very useful for walls and rock gardens ; a few of
the best are D. alpinus, with large deep rose-coloured flowers ; D. neglectus, a
deep rose ; D. integer, pure white deeply fringed, and several other varieties too
numerous to mention. D. barbatus is the Sweet William.

DICTAMNUS FRAXINELLA. A well-known plant that should have a place in every border ;
it bears spikes of flowers of a pale rosy pink with rather a curious scent ; is of
free habit and likes good rich soil. 3 feet.

DORONICUM EXCELSUM, or Leopard's Bane, is a plant too well known to need much
description, colour bright yellow, and flowers in early Spring and far into the Summer.
It should be in every garden ; height 2\ to 3 feet.

EPIMEDIUM PINNATUM, is a very excellent dwarf yellow-flowering plant, the foliage of which
is also very pretty and useful for cutting ; it will grow in shade, flowering about May.

ERIGERON SPECIOSUS SUPERBUS and E. s. GRANDIFLORUS, bear clusters of large mauve flowers
from June to September ; height from 2 to 3 feet. An excellent border plant.

ERYNGIUM ALPINUM, or Sea Holly, is a well-known plant, and one which should be in-
cluded in 'every collection ; it is a strong grower, succeeding in any good garden soil,
and flowering from June to September ; height 3 feet.

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

FUNKIA, of which there are many varieties, make fine foliage plants ; two of the best Hardy

are F. Fortunei ccerulea and F. undulata marginata, the former being of a fine perennials.

glaucous colour, and the latter beautifully margined with white. These will succeed

in partial shade.
GALEGA OFFICINALIS ALBA, or Goat's Rue, an excellent plant for the border, bearing

beautiful white pea-shaped flowers, which last well when cut. It is about 4 to

5 feet in height, and does well in any soil.

GEUM COCCINEUM PLENUM, and G. HELDRIECHII are fine border plants with rich orange-
scarlet flowers ; 2 feet in

height : one of the most

effective plants for the her-
baceous border.
GILLENIA TRIFOLIATA, a very

graceful and pretty plant

bearing slender white flowers;

it is useful for moist situa-
tions, and should be planted

in large patches.
GYPSOPHILA PANICULATA, although

generally grown, for cutting,

is a white mist-like flower

very useful when used in

contrast with strong colours ;

height ij feet.
HELENIUM. This genus bears

masses of beautiful bright

yellow flowers, which last

well when cut. Amongst the most useful varieties are H. pumilum, about 2 feet high ;

H. grandiflorum, 3 to 4 feet ; and H. autumnale, which flowers more in clusters and

lasts late into Autumn, about 6 to 7 feet in height.
HELIANTHEMUM, or Rock Rose. No rock or wall garden is complete without a selection

of these plants, they are perfectly hardy, and make a fine show. They vary in

colour from white to deep red. The following are good : H. venustum, fine red ;

H. tomentosum, yellow ; H. The Pearl, white ; H. Mrs. Sydney Smith, terra-cotta ;

H. Mrs. Earle, double red ; H. roseum, pink. They thrive well in a dry position

in ordinary soil.
HELIANTHUS, make a fine show towards Autumn, when flowers are getting scarce. The

most distinguished of the several kinds are H. doronicoides, a very free-flowering

single, and H. Soleil d'Or, a double variety, with fine quilled flowers. H. Miss

Hellish is a fine form. These are very strong-growing plants and should be planted

sparingly to avoid overcrowding more delicate subjects.
HELLEBORUS, or Christmas Rose. There are a great many varieties of this genus, but

H. niger major is one of the freest flowering sorts, bearing fine pure white blossoms.

It is very useful for cutting purposes, and does well in a rather shady position.
HEMEROCALLIS, or Day Lily. There are several varieties of this genus. The showiest

are H. disticha plena, flowers a deep orange, and fine border plant ; H. Thunbergi,

pale yellow blooms ; and H. flava, with lemon-coloured flowers, bell-shaped and very

numerous.

HEUCHERA SANGUINEA bears numerous slender spikes of pretty scarlet flowers, which when
cut are very useful for decorative purposes, looking exceptionally well by artificial
light. It is of easy growth ; height 2^ feet. H. s. grandiflora is a stronger grower.

FIG. 373. — GIANT PARSNIP UNDER TREES. (See UCXt page}.

319

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

Hardy HERACLEUM GIGANTEUM, or the Giant Parsnip, is a valuable perennial for planting on

perennials. the outskirts of the wild garden, or under the drip of trees, as in illustration

No. 373. It is best raised from seed sown in March.

HOLLYHOCK. No garden can be said to be complete without Hollyhocks ; they are
indeed indispensable, showing to great advantage in almost any position, though best
with a background of wall or hedge. They should be found in every border,
especially those on the terrace. Single varieties are as effective as the choicer and
more expensive double ones.

IBERIS, or Perennial Candytuft. C. Corresefolia is one of the finest. It has fine large
pure white flowers, and comes into bloom when the commoner varieties are over.
This is an excellent plant for growing in the rock garden or on the tops of walls.

INULA GLANDULOSA, a useful plant, 2 to 2\ feet in height ; bears fine yellow flowers in June
and July.

IRIS. Almost everyone who has seen a swamp knows the broad, succulent green blades
of the flag, or yellow-flowered iris, and the tall stem or sheath from which they
spring. The Iris Kaempferi, the sacred flower of Japan, can be similarly recognized,
but the flowers are of various shades of white, azure and dark blue, and dark blue
and blue purple, attaining under good cultivation a diameter of from 6 to 12 inches.
If allowed a fair quantity of bog earth or fatty loam, to retain moisture, they
succeed well in the border ; they are also amongst the most valuable plants for
the margins of ornamental waters. I. sibirica is another effective plant for moist
places, having grass-like foliage and numerous pale blue flowers streaked with white.
The well-known flag Iris, I. germanica, is another section, which may be planted
in almost any soil or situation. All the colours found amongst other Iris are to
be found in this class. In the Autumn, batches of Spanish and English Iris, both
of which are equally beautiful, should be planted in masses for flowering the
following June.

LAVENDER. See Flowering Shrubs.

LEUCOJUM VERNUM (Spring Snowflake), has pretty white flowers dotted with green,
resembling snowdrops. L. aestivum is similar to L. vernum, but taller in habit. In
foliage and flower these varieties are effective throughout the Summer months ;
height 18 inches.

LILIUM. There are many varieties of lilies which are well worth growing, and which
make a fine show in the border. The following are all good : L. candidum, the
old garden or Madonna Lily, which has pure white flowers, should find a place
in every border where the soil is moderately light. L. croceum, or Orange Lily,
is a fine old lily, bearing six to eight orange-coloured flowers in clusters, on stems
varying from 4 to 5 feet in height. L. chalcedonicum, Turk's Cap, has rich scarlet
flowers in clusters of four to six on one stem ; it is of easy culture, and is one of
the finest varieties. There are very few hardy flowers which are so effective. L.
Humboldti is a tall-growing variety, bearing numerous flowers of a pretty golden
yellow with dark spots, and is of easy culture. L. tigrinum splendens, the Tiger
Lily, is one of the most useful for borders, a free flowerer, the colour being orange
scarlet with numerous black spots. L. Martagon has dark purple flowers, borne on
stems 4 to 5 feet in height, and is of good habit. L. M. album, a very fine white
variety of the preceding, of handsome appearance, should be in every border. L.
testaceum is a tall-growing variety with clusters of salmon-yellow coloured flowers,
very pretty, and easy to cultivate. L. pardalinum and L. speciosum should also
be grown.

LITHOSPERMUM PROSTRATUM, for rockwork, is as fine a plant as could be wished for. In
colour it rivals the beautiful Gentiana verna, but is easier to grow, and thrives best

320

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

in a sunny position ; grown in a good sand loam mixed with a little sandstone, if Hardy

procurable. perennials.

LUPINUS, Lupine. The white and blue varieties make a fine show, growing to a height

of about 3 feet ; all are very free-flowering.
LYCHNIS. Amongst this class of plants I should recommend L. chalcedonica, which bears

handsome scarlet flowers from July to the beginning of September ; height 3 feet ;

and L. viscaria splendens plena, a dwarf variety, very profuse flowering, of a rosy

pink, flowering in the months of June and July.
LYTHRUM ROSEUM, a fine showy plant, very free in habit ; the flower spikes are of a

deep rose, and often attain to a height of 4 to 5 feet. It is also a very useful plant

for marshy ground, or by the margins of lakes or streams.
MALVA MOSCHATA ALBA. An

effective border plant with

clusters of pretty white

flowers. It will grow in

almost any soil ; height 2\

to 3 feet.
MERTENSIA SIBIRICA, a pretty

border plant with lovely pale

blue pendant flowers ; height

1 1 feet.

MONARDA DIDYMA, or BERGAMOT,

a showy plant, with bright

red flowers, growing about

2|- feet high ; blooms in

the latter part of July, and

lasts almost to the end of

September.
MONTBRETIA. A most useful class

of plants with ornamental

grass-like foliage. The flower

spikes, in many various

shades of colour, resemble

gladioli, but are on a much

smaller scale. M. crocosmae-

flora, with orange - scarlet

flowers, is one of the best for

the border, and M. elegans,

a pretty shaded yellow, and M. Fairy Star, a rich orange with yellow centre, are

also very effective. The Montbretias grow and succeed almost anywhere, but prefer

a fairly light soil. There are now quite a number of hybrid varieties reared in

France, some of which are very charming.
NARCISSUS. Amongst the large-flowered or trumpet section, some of the best are N.

Empress, a beautiful variety, with rich golden yellow trumpet and large white

perianth ; N. Emperor, a fine effective rich yellow ; N. Golden Spur, a very showy

variety, of a rich golden yellow, the trumpet being broad and reflexed ; N. Johnstoni

(Queen of Spain), a very pretty flowered variety with fine sulphur-coloured flowers.

N. maximus, one of the finest, having rich golden yellow flowers, the perianth being

finely twisted ; N. Telamonius plenus is the old-fashioned double daffodil, and still

one of the most useful. A. few good medium flowered varieties are N. Barri

conspicuus, which is one of the finest of this class, having a broad yellow perianth

FIG. 374.— LAVENDER UNDER THE CASEMENT.

321

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

Hardy edged with deep orange ; very showy ; N. incomparabilis giganteus, Sir Watkin,

perennials. a very fine variety with fine sulphur perianth ; N. incomparabilis, Cynosure, has a

large perianth, sulphury white ; N. Leedsi, Mrs. Langtry, a pretty variety with broad
white perianth and a large white cup ; N. C. J. Backhouse, a distinct variety with
broad white perianth and yellow cup ; N. triandrus albus, a very small flower
resembling the cyclamen in shape and creamy white in colour, very pretty ;
N. Orange Phoenix, a showy variety with large white flowers streaked with orange,
commonly known as " eggs and bacon." Amongst the short cup varieties may be
named N. biflorus, a free-flowering variety, bearing two flowers on one stalk, of
a creamy white colour ; N. poeticus ornatus, a fine free-flowering variety, bearing-
flowers with a broad perianth and rich orange cup ; N. p. plenus is a double
white variety, very sweet-scented and useful for cutting, but rather a shy bloomer.
These do not by any means exhaust the many varieties of Narcissi, but will be
found to contain a nice selection which might form the nucleus for a larger collection.

(ENOTHERA FRASERI, (E. macrocarpa, and (E. Youngi are all very useful yellow-flowered
border plants. (Enothera biennis is the Evening Primrose.

ORNITHOGALUM NUTANS is well adapted to the wild garden ; it flourishes and increases
rapidly. The flowers are of a whitish green, and look very pretty in a cluster.
O. umbellatum, Star of Bethlehem, comparatively unknown under its formidable
botanical name, has clusters of five or six pure white flowers on a short stem.
The bulbs should be planted in the Autumn and when once established they should
not be disturbed.

OROBUS vERNUS,..one of the Vetches, makes a pretty border plant with purple flowers,
blooming in early Spring. There are several other varieties, but this is one of the
best ; height 2\ feet.

PAP AVER ORIENTALIS, or Oriental Poppies, make a fine show, and may be planted in
almost any position where bright masses of colour are required. Colour, flaming
scarlet, height 2£ feet. There are now many varieties of excellent pink shades.

P^EONIA, Paeony. No garden would be complete without some of these ; they are easy
of culture and make a brilliant show. As there are a great number of varieties it
is a difficult matter to decide which are the best, but the following will be found to
be good and reliable, merits which cannot be claimed for a number of hybrids that
are advertised : Felix Crousse, carmine ; Lady Anne, silver pink ; Lord Derby,
purple crimson, and Marie Lemoine, a pure double white.

PHLOX. An indispensable class of plants of various colours and easy culture, no border
being complete without them. Amongst the early flowering varieties I should
recommend Purple Emperor, Lady Napier, A. M'Kinnon and Snowdon. For a
selection of late-flowering varieties : White — Delight, Freifraulein von Lassburg,
Pyramide, Tapis blanc, Mrs. Jenkins, Frau. Ant. Buchner. Mauve — Charles Flahault,
E. Danzanvilliers, A. Mercie. Blue and purple — Eclaireur, Iris, Le Mahdi. Pink-
General van Heutz, Moliere, Neptune, Wm. Robinson, Selma, Elizabeth Campbell.
Red — -Coquelicot, Embrasement, Etna, Jocelyn, Dr. Konigschoffer.

PHYSALIS FRANCHETI, a variety of Winter Cherry ; it makes a fine show in Autumn, having
a bright crimson globe-shaped pod in which the fruit is enclosed ; it is very useful
for cutting, lasting for many weeks ; height 2 feet.

PINKS. Of all the beautiful edging plants none are so good as the white pink, which
even when not in flower, forms a good silvery margin. The two best varieties are
Mrs. Sinkins and Her Majesty.

POLEMONIUM, or Jacob's Ladder, is a well-known old-fashioned plant, which should be
in every border. P. Richardsoni is a very pretty pale blue, and flowers for fully
three months. The white form, P. Richardsoni album, is as free-flowering as the blue.

322

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

POLYGONATUM MULTIFLORUM, more familiar under the name of Solomon's Seal. The Hardy

white bell-shaped flowers, suspended from beneath the long, shapely, symmetrically- perennials.
divided frond-leaves, or fronds, are effective in the border or in the wild garden.
This is a good plant for shade.

POLYGONUM CUSPIDATUM. A fine-looking plant for places where it can have plenty of
room for development, often growing to a height of 8 feet, with pretty white flowers,
It thrives under trees, but should not be planted where it will be likely to
smother small plants, as it propagates rapidly, and soon covers a large area. P.
sachalinense is another variety worth growing.

POTENTILLA. There is a large family of these. The three varieties which are the
most distinct are P. californica, bright double yellow ; P. variabilis, double orange and
yellow ; and P. purpurea plena. These will flower well from July to the latter
part of August ; height ii to 2 feet.

PRIMROSE. Our beloved hedgerow companion, and the probable progenitor of all the
many different varieties, has but to be mentioned to ensure it a hearty welcome to
our wild gardens. The double white, double yellow, double mauve, and single
varieties all do well in a nice cool, shady place, and will make quite a blaze of
colour.

PULMONARIA AZUREA (Lungwort), a fine dwarf blue, much-flowering variety, which is
particularly useful for moist positions.

PYRETHRUM. This will do well in almost any garden. There are now a great many
varieties, both double and single, both of which forms are very useful for cutting
purposes as well as for border decoration. They have a great range in colour, and
succeed in almost any soil or situation.

RANUNCULUS ACONITIFOLIUS PLENUS, or Fair Maids of France, does well either for border
or bog garden, and bears clusters of double white flowers, which are also useful for
cutting.

RHEUM. The ornamental character of the foliage of these plants should be sufficient
commendation to secure them a place in any garden. One of the best is R.
sanguineum, the foliage of which, when young, is a beautiful red, the flower spike
being of the same colour, and often attains a height of ten feet.

RUDBECKIA NEWMANI, Newman's dwarf sunflower, colour bright yellow with a dark
centre, flowering late into Autumn ; height, 18 inches. R. laciniata plena, or Golden
Glow, should also have a place in every garden ; it resembles a double sunflower,
but has a much finer substan'ce ; grows 5 to 6 feet high.

SAPONARIA SPLENDIDISSIMA. This plant is a great acquisition for wall or rock garden ;
forming carpets of beautiful rose-coloured flowers.

SAXIFRAGA, an extensive class of Alpines of acknowledged beauty, carpeting large spaces
effectively. Amongst the best are S. Burseriana, which flowers very early and forms
nice silvery tufts with pretty pure white flowers borne singly on stalks about 2 inches
long, and has a very pleasing effect ; S. luteo-purpurea, or Frederick Auguste,
forms beautiful green tufts with pale yellow flowers ; S. Cochlearis, a crested variety
forming nice tufts, the flowers of which are a beautiful white ; S. Cotyledon, a very
free variety of easy culture, forming silvery rosettes, the flower spikes often attaining
a height of 18 inches ; of a spreading nature and a beautiful white, and will succeed
in almost any soil. S. McNabiana longifolia, S. Aizoon lantoscana, and S. Cotyledon
pyramidalis are also good. Some of the mossy Saxifragas are very useful for rather
shaded positions, making fine green carpets. S. Wallacei, a beautiful form, having
large pure white flowers ; S. atropurpurea, with pretty rose-coloured flowers, and
S. hypnoides, will be found very useful varieties. S. Guildford Seedling, red ; S.
decipiens grandiflora, red ; S. barthoniensis, crimson, are also good mossy varieties.

323

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

Hardy SCILLA. S. campanulata and S. campanulata alba are both effective varieties for the

perennials. border, throwing up large masses of flowers year by year. As for cultivation, they

simply require planting and leaving alone. They are very useful for partial shade.

SEDUM. These well-known and most desirable rock plants will grow in almost any soil
or position. A few of the best are S. elegans, forming spiral tufts of foliage
with bright yellow flowers ; S. sexangulare, a creeping variety (resembling the
common stonecrop), forming a carpet composed of a dense mass of verdant green
stars, the foliage of which is of a crimson tint ; and S. album, which is well-known.

SEMPERVIVUM. Lovers of quaint old cottages will not fail to recognise these plants,
more familiarly known as Houseleek ; the scanty sustenance they obtain in the
crevices of the rough-cast, or in the rugged projections of stone tabling, shows the
ease with which they can be cultivated. S. arachnoideum forms pretty rosettes,
covered at the top with a white down resembling a spider-web, giving it a fine
appearance. S. triste forms large rosettes of deep purple, and is one of the finest
varieties. It is also a useful plant for edging purposes. S. californicum, about
the largest variety of all, forms rosettes of a glaucous colour, the tips of the
leaves being a dull brown.

SILENE ACAULIS is one of the best plants for a wall garden ; it thrives in dry positions,
and forms dense cushions of green foliage, with pink flowers.

SOLIDAGO, or golden rod, of a coarse habit, is thoroughly well suited to the wild garden ;
where its tall spikes of bright yellow show to advantage.

SPIR/EA. Amongst these S. Aruncus plumosus takes the lead for border work, it attains
a height of 4 to 5 feet, and has a flower spike of a fine creamy white. S. A.
astilboides is also very useful, being of a much dwarfer habit ; the flowers last well
when cut. S. palmata, pink, and S. venusta, rose, are also very showy. S. Davidi,
is a recent introduction, producing noble spikes of rose-purple flowers ; 4 to 5 feet
in height ; it is specially suited for planting near ornamental waters.

SYMPHYTUM CAUCASICUM, or borage plant, which makes a showy addition to the wild
garden, is a free flowerer, with fine bright blue flowers early in the year.

TELEKIA SPECIOSA, is a tall-growing, glaucous-leaved plant, with large spikes of yellow
flowers ; very suitable for rough places.

THALICTRUM AQUILEGIFOLIUM, a useful border plant, with foliage resembling the aquilegia ;
it grows about 4 feet high, with fine feathery heads of white flowers. T. purpureum,
purple, is also a very fine showy perennial with pretty foliage and white heads of
flowers. T. flavum is a fine tall-growing yellow variety, with glaucous foliage.

TRILLIUM GRANDIFLORUM, or American wood lily, when once established, makes a charming
addition to the border. It has a dwarf habit, bears pure white lily-like flowers,
and likes rather a moist, shady position. The habit of growth and general character
of the plant is very similar to the Christmas rose.

TROLLIUS (Orange Globe) is a splendid border plant with large globular orange flowers.

TULIP. Having regard to the extreme beauty and comparative hardiness of florists' Tulips,
it is difficult to understand the way they have been neglected. These are not to be
confounded with the varieties which are imported so largely from Holland ; it is the
old garden tulip which is here referred to. All the varieties may be used to great
advantage in the borders ; there are many forms, with a wide range of colours,
and can now be obtained from any nurseryman at moderate prices. They may be
allowed to remain undisturbed in the borders from year to year.

VERBASCUM OLYMPICUM, is conspicuous for its large white rosettes of foliage, and clear,
pretty, yellow spike, varying from 6 to 12 feet high.

VERATRUM ALBUM and V. NIGRUM are fine foliaged plants, excellent for rock or wall
gardens or borders.

324

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

VERONICA SAXATILIS and V. SAXATILIS ALBA, two very useful plants of a prostrate habit,
and very showy, which are perfectly hardy, and do well in good sandy loam. V.
rupestris is another prostrate variety with fine bright blue flowers. V. epacrioides,
lycopoidoides, and V. sabeonioides are New Zealand varieties which are splendid
for the rock or wall garden. V. amethystina is a showy plant with spikes of bright
blue flowers, eighteen inches high, flowering in June and July. Another good
border variety is V. longifolia subsessilis, which has large spikes of deep blue flowers,
and grows to two feet high.

AQUATIC AND SUB-AQUATIC PLANTS FOR PLANTING IN PONDS AND BY THE MARGINS

OF STREAMS.

Much more attention is now paid to this class of plants than was formerly the Aquatic
case, water and bog gardens forming a part of many garden schemes. This is not to plants.
be wondered at since Marliac has reared such superb water lilies, and Japan has
supplied us with such very charming varieties of their sacred lilies (Iris Ksempferi).
Apart from these, however, there is a sufficient number of beautiful aquatics and bog
plants to make a water garden desirable, whilst in many situations their use allows of
spaces of ground which are uninteresting, and even objectionable, being converted into
spots full of interest.
ACORUS CALAMUS, or sweet-scented rush, the foliage of which resembles an Iris and is

evergreen, and when broken emits a sweet scent ; it does well in shallow water

or in very wet ground on the margins of ponds, and is perfectly hardy.
ALISMA NATANS is a pretty little white-flowering subject for shallow water. A. plantago

has handsome spikes of pale rose-coloured flowers, 2 to 3 feet high.
APONOGETON DISTACHYON, or Cape Pond Weed, often called Water Hawthorn from its

beautiful fragrance, is one of the easiest water plants to cultivate. It bears

numberless curiously shaped white flowers, relieved on the inside with small black

dots, is fairly hardy, and very free in habit.
ASPHODELUS LUTEUS, a graceful plant for a moist position, has grass-like foliage and fine

large spikes of bright yellow flowers, attaining a height of 3 feet.
BUTOMUS UMBELLATUS has reed-like foliage, with pretty umbels of white shaded pink

flowers, and thrives well in shallow water.
CALLA PALUSTRIS (Bog Arum) is very useful for planting in shallow water, and bears

calla-like flowers on green spathes.
CALTHA PALUSTRIS MONSTROSA PLENA, a double variety of the marsh marigold, bears full,

large, rich yellow flowers, making a very beautiful margin to still water.
CYPRIPEDIUM SPECTABILE (the Moccasin flower), from N. America, the finest hardy variety

known, succeeds in a well-drained moist position, and likes peat. The flower stems

vary in length from 6 to 12 inches, with fine large white and shaded pink flowers.

C. calceolus, the British form, though now very scarce in the country, has a flower

of a fine shade of yellow, with long dark-brown petals. It does well in a good

heavy soil with limestone, and likes a rather shaded place.
CYPERUS LONGUS is a fine foliage plant for marshy places.
ELYMUS GLAUCUS is a very ornamental grass, and when planted in tufts makes a happy

break to the margin of a stream, especially when the surroundings have a tendency

to appear too tangled or disordered. Another beautiful grass is Carex pendula, a

fine variety for growing in marshy places or under trees.
FERNS. No bog garden is complete without a few ferns. The well-known Osmunda

regalis, or Royal fern, is by general consent the finest ; but other good varieties

are Onoclea sensibilis, an American fern of easy growth which likes a shaded peaty

position, and Struthiopteris germanica, or ostrich feather fern, a fine large-growing

325

HARDY FLOWERING PERENNIALS FOR BEDS, BORDERS, &c.

Aquatic variety, which is well worthy of a place ; it is of very free habit.

plants. GUNNERA SCABRA has large handsome foliage, with leaves sometimes 3 to 4 feet across,

and requires plenty of space and a position near, but not in, water.
HOTTONIA PALUSTRIS, or water violet, has foliage resembling a fern, and throws up a
fine spike of flower, white shaded with pink, and about 6 to 12 inches in height,
growing in about 2 feet of water.
LYSIMACHIA CLETHROIDES, with spikes of pretty white flowers, is an excellent plant for

marshy places ; height 2^ feet.
LYTHRUM ROSEUM. A very showy plant with spikes of rich rosy crimson, which does

well in marshy ground ; height 3 feet.

MARSH MARIGOLD, both double and single varieties, are most useful for margins of water.
MENYANTHES TRIFOLIATA, or Buckbean, is a very free-growing plant with fine sweet

white flowers, useful for shallow water.

NYMPH^A (Water Lily). A few of the hardiest are N. Marliacea chromatella, a beautiful
yellow with finely marbled foliage ; N. Robinsoni, a large-flowering variety with
rich vermilion-coloured flowers of very free habit ; and N. alba rosea, a fine variety,
the flowers rose coloured, equal in size to the ordinary white water lily. No sheet
of water should be without N. alba, the freest-flowering variety of all, the abundant
quantity of its bloom making quite a picture. N. Nuphar lutea, the common yellow
variety, is one that could not easily be dispensed with, the foliage in itself being
a recommendation. Other beautiful varieties are N. Gladstoniana, the largest, white ;
N. Marliacea carnea, flesh-coloured ; N. Laydekeri fulgens, violet red ; and N.
Wm. Falconer, a rich deep crimson with bright golden centre.
PARNASSIA PALUSTRIS, or Grass of Parnassus. A pretty little plant for bog gardens,

with dark-green foliage and well-formed white flowers, and very easy to grow.
PRIMULA ROSEA, a plant easy to grow, with beautiful rosy pink flowers, which are
numerous and last for weeks. Planted between the crevices of rock near the
water's edge, it soon makes a fine carpet of colour. P. sikkimensis is another
beautiful variety for a moist position, throwing up an abundance of fine primrose
yellow flowers on stems from 6 to 12 inches long, and prefers a rather shaded
position. P. japonica, with its rich purple flowers, should also be included.
RANUNCULUS AQUATILIS has fine feathery foliage which floats on the top of the water,
interspersed with numerous pure white flowers. It is often found growing in
ponds, and requires no planting ; if thrown on the water it will establish itself.
R. lingua is a fine plant for the edges of ponds ; in shallow water it grows about
2 feet high, and bears showy bright yellow flowers. R. lingua grandiflora is the
Giant Marsh buttercup.

SAGITTARIA MONSTROSA fl. pi. is most effective for use in the margin of lakes or shallow
water. It has dark green leaves and fine double white flowers, varying in height
from 12 to 1 8 inches.

SAXIFRAGA PELTATA, a large handsome foliage plant for the margins of lakes and streams.

TRITOMA, Red Hot Poker, makes a fine show in the border. It is well known, and

with fine spikes of various shades of red, and is good for planting for effect on

the higher ground above the lakes.

TROLLIUS, or Globe Flower, is very useful either for the border or bog garden, the

flowers vary from pale yellow to deep orange, and are very free blooming.
TYPHA LATIFOLIA, the Common Bulrush, needs no description, it nevertheless is a
graceful ornament in shallow water or boggy ground. T. minima is a miniature
variety, not more than 18 inches high.

326

Oi
C

c»

o
u.

I
O

cr;

EXAMPLES^
GARDEN
DESIGN .

To make a representative selection of designs from the large number of plans which
the practitioner prepares during the course of his career is a difficult matter. This
arises principally from the fact that many plans which would be instructive and interest-
ing to those acquainted with'' the site and local conditions, are more or less meaningless
to persons who are not. This is particularly true in regard to designs prepared for
undulating sites ; the various bends and turns, rendered necessary by the contours of
the ground, could only adequately be explained by a larger number of sketches or
photographs than it is practicable to introduce. There are other instances in which,
from a variety of causes, it is impossible to illustrate the design adequately. The
gardens at Graythwaite Hall are a case in point. Those who know the difficulties
encountered in laying out such gardens would measure their success by the amount of
improvement actually accomplished ; whereas only the plan of the garden as it is can be
illustrated. The point to keep in mind is that the plans selected are intended to show
the practical applications of the principles already dealt with. In this way many
schemes which, pictorially considered, might add to the effect of the book, have had to
be omitted, as their inclusion would not serve any practical purpose, or assist the reader
to grasp the conditions which are conducive to successful garden design. The endeavour
has been to select designs ranging from a small villa garden to those of twelve or four-
teen acres, thus dealing with those conditions most often encountered. The descriptive
matter accompanying the illustrations explains as far as possible the conditions under
which the designs had to be carried out, and the effect which it was desirable to attain,
results being left for the illustrations to expound.

Planning small gardens is almost as delightful as designing small houses ; and although
it would be safe to state that there are a dozen averaging from a quarter to half an
acre for every one over two acres in extent, yet garden designers seldom get the oppor-
tunity of arranging them. For this reason I am compelled to give, as the smallest
gardens illustrated, those belonging to members of my own family.

GARDENS TO SEMI-DETACHED HOUSES.

The first plan shows two gardens surrounding semi-detached residences at Heathwaite,
which is on the East side of Windermere Lake, at an elevation of nearly three hundred
feet above the level of its surface, and commanding some of the finest views in the
district. In the only direction in which future building was likely to take place are a
few characteristic cottages, which in no way spoil the outlook, and are much more
presentable than the speculative buildings which might otherwise have been erected. To
give meaning to the garden designs and their connections with the houses, the ground-

329

EXAMPLES OF GARDEN DESIGN.

Small

detached

residence.

floor apartments are worked out on the plans. It will be noticed that the site is
bounded by public roads on the South, East and North sides, the ground to the S.W. of
the garden being planted as an orchard. The houses are placed much nearer the South
than the North boundaries, as this portion of the ground is considerably more elevated
than the remainder. In designing the gardens it was decided to have one tennis lawn
in common on the S.W., and that both houses should conjointly use the walks connecting
with the several public roads, but to divide the remainder of the ground as equally
as possible. A deep terrace, 15 feet wide in front, and on the N.W. end of the house,
is connected with the entertaining rooms by the verandah ; between this and the lawn
tennis ground, is a second terrace, 25 feet wide, both terraces being supported by rough
broken-coursed walls, coped with thick Westmorland slates, with rough steps to foster

FIG. 377.

THE NUMBERS ON THE PLAN INDICATE : (l)PORCH, (2 ) ENTRANCE LOBBY, (3 ) DRAWING ROOM, (4) STUDY, (5 ) DINING ROOM,

(6) KITCHEN, (/) SCULLERY, (8) YARD, (9) VERANDAH, (lO) LOWER TERRACE.

the growth of spleenwort and other ferns, as shown in the photograph. An outcrop of
virgin rock which existed on the site of the terrace walls was left partly uncovered, so
as to give accommodation for rock plants, and from this the higher terrace wall rises
quite naturally.

Beech hedges divide the tennis ground from the orchard on the South-west, and the
flower border and main walk from the kitchen garden on the North-west side. The
acute angle enclosed by the two roads at the North corner of the site is planted with
evergreen shrubs, growing to a considerable height to screen the garden from some
cottages on the opposite side of the road. All the flower borders are filled with choice
hardy perennials and sweet-scented and free-flowering roses, and all the walls are covered
with a selection of clematis, climbing roses, and other hardy climbers.

330

EXAMPLES OF GARDEN DESIGN.

GARDEN TO A SMALL DETACHED RESIDENCE.

The small garden at the Corbels, Windermere (111. No. 382), will probably be inter-
esting, as it was the property of the writer, and being designed for his own occupation,
consequently expresses his own ideas untrammelled by the wishes or prejudices of a
client. There is, therefore, more of that feeling of breadth and continuity of purpose
which should characterise an ideal small garden, and. which is usually absent owing to
the overcrowding of plants and other features.

There are no drive or carriage turn, and instead of sloping paths there are fourteen
steps from the garden entrance to the front door, otherwise the tennis lawn, so restful
to the eye, would have been impossible. The arrangement of the steps is much easier,
especially for old people, than the steep path which would otherwise have been necessary.
By referring to the plan it will be noticed that whereas steps are necessary in order to
reach the front door, the back path is level ; it will therefore be realized that the fall

Semi-
detached
residences.

FIG. 3/8. — TERRACES IN FRONT OF SEMI-DETACHED RESIDENCES.

in the ground between the Windermere road and the field below the summer-house
is considerable. It was to meet these levels that a terrace three feet six inches below
the floor level of the house, was arranged, the tennis lawn being constructed at a
level about half-way between those of the terrace and field. Thus the terrace is three
and a half feet below floor level, while the tennis lawn is three feet six inches lower or
seven feet below floor level, and the field again ten feet below floor level. The terrace
and boundary walls are built of the native blue slate rock with coping of the same
material, a touch of character being given by the arched gateway, connecting with the
highway and the summer-house.

A feature is also made of the trellis work, which gives a dividing line between the
summer-house walk and the fruit border, and also provides the necessary connection
between the house and the summer-house, and being overgrown with climbers, is a pretty
feature in the garden. The connecting border is planted with free-flowering roses,

33i

EXAMPLES OF GARDEN DESIGN.

FIG. 379. — GARDENS TO A SMALL DETACHED RESIDENCE.

FIG. 380. — GARDENS TO A SMALL DETACHED RESIDENCE.

332

EXAMPLES OF GARDEN DESIGN.

including some of the
at regular intervals,
inside the wall by
lawn, which is allowed
giving the appearance
with the hedge on the
bordering the road to
hedge, to be trimmed
shapes. The whole of
clad. The long border
perennials, varied at
golden hollies and
the terrace at the head
golden Irish yews,
walk, to be formed
The small kitchen
through an archway
seen on the right hand
Nos. 379 and 380, and
middle by a walk, on
planted a thorn hedge,
to be clipped to shape,
all the purposes of
drying ground, and
necessity of providing

single varieties ; whilst standard Gloire de

FIG. 381. — GRASS WALK AT THE CORBELS, WINDERMERE.

Dijon roses are placed
A box hedge is planted
the side of the tennis
to grow over it, thus
of a retaining wall
top ; and parallel to it,
Bowness, is another
to conventional
the walls are climber-
is planted with hardy
intervals with standard
Cupressi Frazeri. On
of the steps are two
rising out of the gravel
later into an arch,
garden is entered
in the trellis, to be
side of illustrations
is divided in the
one side of which is
When grown, this is
and will then answer
a more pretentious

do away with the
the usual posts and lines, which disfigure so many small gardens.

FIG. 382.

All the flower borders are filled with hardy perennials ; bedding-out plants, which
would add considerably to the expense of maintenance, not being required. Economy has

A small
detached
residence.

333

A larger
detached
residence.

EXAMPLES OF GARDEN DESIGN.

been considered all round, and this fact may have added something to their quiet repose-
ful feeling. The Corbels is the more distant of the houses in illustration No. 378.
Since this plan was drawn, an additional strip of ground has been purchased, making it
possible to construct the grass walk and borders shown in accompanying photograph
(111. No. 381).

GARDENS FOR A LARGER DETACHED RESIDENCE.

This provides another example of a garden only slightly larger than the last, which
was laid out some seven years ago for the late Mr. Robert R. Mawson on a site imme-
diately opposite the main entrance to the well-known Windermere Nursery Gardens, of

SHRIBLANDS
WINDERMERE

Q/ccUe gfcf

FIG. 383.

which he was the owner. The nursery and the residence were planned in relation to
one another, the main entrance door and porch to the latter being so placed that the
path up to them from the highway continued the lines of the vista down the principal
path of the former.

The Nursery grounds being leasehold, there was always the possibility that they might
be abandoned in favour of another site, and it was therefore desired that some of the
conservatories and plant houses, together with accommodation for the clerical staff, should

334

EXAMPLES OF GARDEN DESIGN.

form part of the Shrublands scheme, thus creating a permanent business centre. Re- A larger
ference to the plan (111. No. 383) will show how this has been effected to the North of detached
the house, and in such a manner as to leave the West, South and East fronts for the residence.
use of the residents.

This necessity for devoting a part of the grounds to the needs of the business of
course still further curtailed the area available for the grounds, but, by making the very
most of the remaining space, quite a self-contained series of pleasaunces has been contrived.
Entering from the highway by the gate and steps shown in illustration No. 73, we come
first of all to the forecourt surrounded by clipped hedges, and with the path from the gate
to the porch crossing it. This path is flagged in the centre and the remaining space on
either side paved with cobbles, thus combining the rusticity of the latter method with
the practical advantages of the former. It is crossed by another walk, which, to the

FIG. 384. — VIEW FROM THE LAWN, SHRUBLANDS, WINDERMERE.

left, leads through an arch in the clipped hedge to the business entrance on the North
side of the main block of buildings, while, to the right, it passes between other hedges
to the pleasure grounds proper. , These, on the South front of the house, are constructed
in three levels, the two upper being terraces one above the other, and the lowest a
tennis lawn. Comparison of the plan of these gardens with illustration No. 384 will
explain how this is done more clearly than any description possibly could, and the
photograph will further show how the local character is expressed in the building, and
also the architectural adjuncts of the garden, such as the walls, steps and pergola columns.
They are all built from the rock quarried on the site, which in itself is almost enough
to ensure this. Sufficient rock is still left, however, to be introduced into the garden
scheme as an ornamental feature, and to grow Alpine and other rock plants on in the
same way as in the garden first described.

335

EXAMPLES OF GARDEN DESIGN.

A larger The terraces, made necessary by the contours of the ground, add very much to the

detached charm, variety and convenience of the garden. In small places such as this, especially

residence. when situated in a mountainous district, there is not only something particularly restful
in the level stretches they provide, but they also allow of flat walks broad enough at
least for two to walk abreast in pleasant conversation, and, if paved with cobbles or
crazy paving with their numberless joints through which storm water will rapidly run
away, they form a garden attraction which is equally acceptable at all times of the year
when it is not actually raining. By using walls instead of grass banks, much precious
space is saved and the opportunity provided for a charming rock and wall garden. With
this end in view the lower terrace wall is built dry, that is without mortar or cement,
and has a backing of earth, as described in the chapter which deals with wall gardens.
A layer of well-rotted turf was also built into the wall under each batch of plants, and
the great success which has resulted has more than atoned for the extra expense and
trouble involved. A marked feature of this simple terrace scheme is the arrangement
of rough rock steps from one level to the other, which, though costing less than a quarter
the sum which would be paid for the usual dressed stone steps, are well adapted to
their position, and, at the same time, admit of tufts of Alpine flowers between the chinks.
While the garden stands among wooded surroundings, it is, like so many new do-
mains, entirely without big trees so placed as to give extensive shade, it has therefore
been found desirable to provide the pergola erected on the upper terrace near the garden
entrance from the drawing-room, as shown in illustration No. 384. This feature is also
built of local stone, and serves to enclose the small panel garden which is overlooked by
the dining-room window.

The ground at the East end of the garden is devoted to herbs, strawberries and
bush fruit, while a few tall conifers in the South-east corner screen adjoining property.
At the North-east corner, a piece of land has been devoted to children's gardens, and a
site provided for a play-house.

The part of the land devoted to the nursery business has been laid out in such a
manner as least to effect the privacy of the remainder, and, at the same time, so as to
allow of the whole being converted into private gardens without serious alteration should
the necessity for this ever arise.

The several views of this garden which are given, show how much has been done in
the very short time in which it has existed to clothe it with greenery, and how the many
crudities which so often characterise newly formed gardens have been avoided.

GARDENS FOR A GOOD-SIZED SUBURBAN RESIDENCE.

There are many points in this plan which serve to illustrate some of the recommen-
dations made in the earlier part of this work ; there are others which have a very direct
bearing on the designing of gardens connected with small houses. To understand the
plan of the garden it is necessary to grasp in the first instance the plan of the house,
which has been designed with some regard to the possibilities of the garden, but more
particularly to understand the position of the ground and its surroundings. Situated
on the West side of the old road leading from the village of Berkhamsted to the
Common, and at the top of the steep ascent known as White Hill, there is only one
small field to the North-east separating it from the Common. The ground slopes some
three feet in its length from the North-east to South-west, but along the road there is a
much greater fall, the point opposite the gate being some six feet below the garden
level, whilst opposite the carriage court the road is only about four feet lower. Crosswise
the ground is practically level, but beyond the North-west fence it falls rapidly into a
valley, the rising ground on the opposite side being richly and picturesquely timbered.
To the South is a recently erected house, which in a great measure decided the plan of

336

EXAMPLES OF GARDEN DESIGN.

the garden ; beyond this, in the hollow, is seen the fine old tower of Berkhamsted
Church, with the charmingly wooded slopes of Ashlyns Park to the left.

The carriage court occupies a square, two sides of which are formed by an angle of
the building, and that on the East by the road, on to which the entrance opens without
an intervening drive, while on the North side it is enclosed by a split oak fence,
with lattice-work above, some seven feet six inches high. The kitchen wing and
necessary yard space are immediately behind the trellis on the West side, and the house
is so placed on the site as to allow the stable, coach house and yard to be entered direct
from the carriage court. Tradesmen have a separate entrance and path, arranged behind
the North side of the trellis, a door out of the kitchen yard being behind the carriage
way into the stable yard. The greenhouse, potting shed, and herb garden occupy the
space between the carriage court and the North boundary hedge.

As will be seen from the perspective view of the grounds (111. No. 386), the garden
scheme on the South front of the house is centred on the main gable with its verandah
and balcony. This allows of a full-sized tennis lawn backed up by a summer-house, with
apsidal hedges on either side and a semi-circular arrangement of flower beds. As these
features come to one side of the ground, there is room on the other for a nicely

CT wnoMnmt

j.n.Tituon «» •

FIG. 385.

THE PLAN OF THE HOUSE IS EXPLAINED BY THE FOLLOWING NUMBERS: I. CARRIAGE COURT, 2. KITCHEN YARD, 3. STABLE YARD, 4.

STABLE BLOCK, 3. GREENHOUSE, WITH POTTING SHED AT THE END, 6. ENTRANCE PORCH, 7. ENTRANCE AND STAIRCASE HALL. 8. MORNING
ROOM, 9. GREAT PARLOUR, OPENING INTO CONSERVATORY AND VERANDAH, IO. DINING ROOM, OPENING ON TO VERANDAH, II. KITCHEN.

proportioned panel garden with a sundial in -the centre, which is invaluable in adding
interest to the scheme. Beyond this arrangement is a kitchen garden, and to give
greater seclusion to it, pergolas are constructed over the walks connecting it with the
pleasure grounds.

The plateau on which the house stands is but two feet above the carriage court
and one foot above the tennis lawn. This change of level, though slight, allows of a
stone kerb, which gives the effect of a terrace in front of the house, and at the foot of
which is a border for select free-flowering and sweet-scented roses. A garden seat at
each end finishes the raised plateau, and embowering arches of roses are placed between
the main terrace walk to the top of the steps. Along the East side of the garden the
old hedge and dyke have been retained, but to make its line conform to the rest of the
scheme on the garden side, additional common hollies are planted, the whole, when suffi-
ciently grown, to be trimmed to one level.

Although a very sunny garden, ample shade was readily provided by the loggia,
summer-house, and pergolas, and also by the walk between the house and the North-west
boundary. The garden will shortly be splendidly protected by the holly hedge, trimmed
to a height of six feet, which, with good growth, should be accomplished in six years.

A good
sized

*" ence.

337

A good
sized
suburban
residence.

EXAMPLES OF GARDEN DESIGN.

The area of the ground being restricted and the intention being to make the most
of it as a garden for flowers, shrubs and evergreen trees have been almost entirely
excluded. The holly hedges on the East and North boundaries, with the fine holly bushes
standing above the latter ; the group of cypress and yew trees on either side of the
summer-house, and the standard hollies, will provide sufficient greenery for the Winter
season. During the Spring months there is a wealth of bloom on flowering shrubs,
including lilac, mock orange, spiraea, deutzia, ribes, weigela, and many others.

«*'8SL' *<? f ••?

£ •*?*••¥«>" ' **4«

^Livl 1C. *SS2

^i^i's^m^

F¥SP»^ ^^^^

FIG. 386. — -GARDENS AT BERKAMPSTED DESIGNED FOR S. R. TIMSON, ESQ.

Climbers are planted wherever there is wall space or treillage over which to ramble,
and the accommodation for them is quite exceptional for so small a garden. It is
expected that the interest from this class of plant alone will more than compensate
for any lack of shrubs. In addition to the climbers on the house, out- buildings and
treillage, single roses, such as carmine pillar, Austrian briars, etc., are planted at regular
intervals along the several borders and trained to larch posts some seven feet high.

A LARGE TOWN GARDEN.

As an example of a town garden, I do not think I can do better than to give a
description of the grounds attached to the town house of Sir William Lever, Bart., at
Hampstead, not only because the scheme was an entirely new one, completely replacing
the gardens which existed before, but also because the outstanding problem was one
which must necessarily occur again and again in this class of work.

This problem consisted in the satisfaction of two main requirements. In the first
place, an adjacent knoll on Hampstead Heath overlooked the whole of the grounds in
such a manner as to make any sort of a fete or garden party quite out of the question
in such a populous district unless something was done to give shelter and seclusion, and,
secondly, this seclusion must be obtained without blocking out the unique view over

338

EXAMPLES OF GARDEN DESIGN.

GARDENS THE D
HILL HAMP5TEAD

FIG. 387.

339

EXAMPLES OF GARDEN DESIGN.

A large Harrow-on-the-Hill, which is equally good from the grounds as from the adjacent " Horse

town Pond."

garden. jn addition to these two main requirements there were other factors which helped

to determine the nature of the design to be adopted. Sir William Lever, with his
usual enterprise and energy, was anxious that whatever was done should be done quickly,
and that the design should not be one which would take a long time to weather and
attain to at least a considerable proportion of its ultimate effect. It was also desired
that provision should be made for the more utilitarian part of gardening, propagating
houses, potting sheds, stores and frame ground, which would need careful contriving if
they were not unduly to limit the space available for pleasure grounds, and, moreover,
more thought had to be given to the question of open-air entertaining than is usually
the case in a town residence.

Previous to the preparation of the scheme, the house had been much enlarged, and
the music room and china room wings, shown on the plan (111. No. 387), added by the
late E. A. Ould, Esq., of Messrs. Grayson & Ould, Architects, of Liverpool, who was also
responsible for the terrace along the garden front of the house, on which the Author
subsequently placed the verandah shown in illustrations Nos. 171 and 172.

These additions to the house had thrown the design for the grounds, as it previously
existed, completely out of scale, so that, quite apart from the altered conditions which had
been brought about, the preparation of a completely new scheme had become imperative.

A very valuable feature which has been carefully retained existed in the presence of
a number of fine forest trees near the house, but, apart from these, there was little but
the requirements to be met to guide the designer in the preparation of his scheme. On
the contrary, there was a drop of considerably more than thirty feet from the floor level
of the house to the West boundary of the estate, a distance of only some two hundred
and fifty feet from the ends of the projecting wings, thus involving an engineering feat
which would have deterred a less energetic client, if level lawns, so necessary to a town
house where entertaining is to be done, were to be formed. Of course this engineering
feat had to be kept entirely out of sight, and thus it presented a further problem to be
dealt with.

How this drop in the ground was met, and not only met, but so met as to prove
an actual asset, will be seen by comparing the plan with the accompanying photographic
illustrations. The building of a retaining wall sufficiently high to allow of the flat lawns
shown, not only gave a splendid vantage-point from which to view the wonderful prospect
over Harrow-on-the-Hill, but also provided means for placing the propagating houses,
frame ground, etc., out of sight below it, while the potting shed, gardener's store, and
the heating chamber for the glass-houses were provided for under the raised, pergola-
covered terrace which encloses two sides of the lawn, and which is shown in illustrations
Nos. 388 and 389.

As will be seen, the axial line through the centre of the house is very strongly
marked by the spreading steps and water-lily pond shown in one of the photographs.
In the original scheme, this visual axis was closed by the central gable of the conserva-
tory shown in illustration No. 275, but since this photograph was taken, the erection
has been removed and the pergola temple shown in illustration No. 388 put in its place,
and, as we go to press, a further extension and improvement is nearing completion,
whereby the main axial line through the centre of the house, the main terrace steps, and
the lily pond will be continued for a considerable distance along a raised terrace extend-
ing away from the house, and treated in the same manner as the pergola already referred
to. From this extended terrace or exedra fresh views of the beautiful country visible
from the Heath will be obtained, and, at the same time, the grounds as a whole will
gain enormously in apparent as well as in real size.

340

EXAMPLES OF GARDEN DESIGN.

FIG. 388. — LILY POND AND PERGOLA, THE HILL, HAMPSTEAD, DESIGNED FOR SIR WILLIAM

LEVER, BART.

FIG. 389. — PERGOLA, POND AND TERRACES AT THE HILL, HAMPSTEAD.

341

EXAMPLES OF GARDEN DESIGN.

FIG. 390. — GARDENS AND CHINA-ROOM WING AT THE HILL, HAMPSTEAD

FIG. 391. — GARDENS AND MUSIC-ROOM WING AT THE HILL, HAMPSTEAD.

342

EXAMPLES OF GARDEN DESIGN.

The whole extent of the estate is some four-and-a-half acres, of which, however, A large
one-and-a-half acres are detached and are used as a cricket ground, leaving three acres town
for the area shown on the plan, including the portion covered by the house and its garden.
extended side wings. This area is, of course, still further curtailed by the small portion
unavoidably given up to the carriage approach and that occupied by the stables, so that
a glance at the accompanying photographs will show at once that the very most has
been made of the remaining portion which could be devoted to the pleasure grounds after
the further deductions necessary to provide for the frame ground and glass houses. As
before explained, however, these latter have been arranged very economically as regards
space.

It has been difficult, in the very restricted space which could be devoted to this
garden, to illustrate the grounds as fully as one would have wished, but the four accom-
panying photographs have been selected as giving the best general idea obtainable without
exceeding the space at our disposal. Of these, two, as already hinted, look along the
main axial line through the grounds, No. 388 looking away from, and No. 389 towards
the house. The first of these shows very clearly the general design of the pergola, as
well as the lily pond which has been mentioned in the chapter devoted to water in the
garden, with its stepping stones for reaching the lilies «.nd its central fountain, which is a
piece of clever modelling by Mr. Derwent Wood which has attracted considerable interest.
It is finished in lead.

The other illustration on the same page shows the small details of the pergola design
more distinctly, and also the central flight of steps leading from the lower terrace to the
upper ; and behind these is seen the verandah, of which nearer views have been given
(111. Nos. 171 and 172).

The two remaining illustrations (Nos. 390 and 391) give general views which, when
examined together with the plan, will give a very fair idea of the general appearance of
the gardens. In No. 391 the fine timber trees, which are such an asset to the scheme,
are to be seen with oak seats encircling their boles, while in No. 390 the extreme end- of
the pergola shown in the first two illustrations described is visible, with the domed rose-
temple which finishes it. Another of these domed temples is placed at the corner of the
lawn, where the best view over Harrow can be obtained. This last photograph was
taken soon after the steps were completed, and before the greenery which covers them in
the other view had had time to develop. It, however, shows the more clearly for
this that the difference of level between the two terraces has been disposed in two
grass banks with a broad grass walk between them. As the boughs of the large elm
and other trees sweep out over this walk, it is a most successful feature.

GROUNDS TO A NEW COUNTRY SEAT.

It is a very real cause for lament that the modern spirit of change reaches so
often the old country seats which are the pride of every Englishman who loves his own
rural countryside. Next, therefore, to assisting in the preservation and enrichment of the
old (as in the concluding example of this series), the Writer has had no more agreeable
or fascinating task than when he has been called in to create a new domain which,
while it is modern, will still fulfil all the functions in the future of the old ancestral
home of the past. He has liked even to feel that, if his work can reach the high
level he would wish by the help of a sympathetic and artistic proprietor, it may even-
tually attain to that mellow beauty which is at present the prerogative of the old
examples.

There was an exceptional opportunity for this at Dunchurch Lodge, which is illus-
trated in the accompanying photographs. The name " Dunchurch " is associated in the
minds of most people with the immortal Mr. Pickwick returning in the pouring rain

343

EXAMPLES OF GARDEN DESIGN.

; JOHN LANCAS

0000001 leoccooo
ooe

EXAMPLES OF GARDEN DESIGN.

from his unsuccessful journey to Birmingham, and, when one visits the actual scene of A new
the incident, the association, instead of being rudely dispelled, as is so often the case, is country
immediately heightened in a most delightful manner. There are still the old stocks in
which malefactors and unfortunates were so often confined, and which carry us back
with a rush to the days of beadles in cocked hats and overflowing self-importance, and
there are the old houses and coaching inns with scarcely a modern feature pronounced
enough to dispel the illusion, and over all lies that peaceful and wholly undefinable charm
which belongs exclusively to the old coaching town.

Considering the nature of the task before the designer, such surroundings could not
fail to be most inspiring. The new domain to be created, standing as it does less than
a hundred yards from the centre of the little ' town, with its rather less than a thousand
inhabitants, is still screened from it sufficiently so to prevent any clashing of new and
old until the former shall have been clothed, by Nature and the hand of Time, with that
beauty which it is so impossible to create, but which we may do so much to promote
or conserve with their help.

DEWLROSE GARDEN

i — I

FIG. 393.

The situation is, however, unique in another way, for the windows of the mansion
overlook such a stretch of typical English rural scenery as not one in ten such places
can boast. As will be gathered from the plan and illustrations, the ground slopes away
sharply from the main garden front of the house and, from the terraces which this has
given occasion for, one looks across an open valley to rising ground beyond, which is
beautifully timbered, and right and left along great vistas of valley and rolling country.

Such sweeping views and open prospects, while they are worth any sacrifice, naturally
make sheltered parts of the garden more difficult to obtain, and so, in a case like this,
we have a dual task : to make the most of the open views and falling ground, and at
the same time to prevent bareness and give gardens which shall be acceptable in all
weathers. How this has been done will be seen on examining the plan in detail.

The original approach was from Dunchurch, as marked near the top left-hand corner
of the plan, but, since the entrance and lodges shown were built, the drive has been
extended towards Rugby, and terminated in the pair of estate workmen's cottages
given in illustration No. 25. The necessity for placing the main facade and entrance
arch of the stables on the drive, and the contours of the ground, have together indicated

345

EXAMPLES OF GARDEN DESIGN.

\ \

FIG. 394.— THE ROSE GARDEN, DUNCHURCH LODGE, NEAR RUGBY.

FIG- 395- — THE SUNDIAL COURT, DUNCHURCH LODGE, NEAR RUGBY.

346

EXAMPLES OF GARDEN DESIGN.

rather an unusual treatment for the main drive. As will be seen from the plan, it has A new
been constructed in the form of a straight and severely symmetrical double avenue between country
the entrance gates and the open space in front of the stable block, and from there it
follows the contours of the ground in a boldly sweeping curve, the point where the change
is made being marked by a gateway. As before stated, it is only the exceptional nature
of the contours which makes such an arrangement possible. The ground between the
entrance and the stable block is perfectly flat, and a sudden dip, at the point where
the gate divides this part of the approach from the curved portion, prevents the whole
being seen at once, and so insures that the two styles shall not clash in any way.

As will be seen, the circular carriage turn is treated in a strictly architectural manner,
with surrounding walls and handsome wrought-iron gates symmetrically placed, one pair
giving access to the drive and the other to the pleasure grounds. Between the two is a
narrower gateway on the axial line of the carriage court and the porte-cochere, through
which the eye is led along a green path between an avenue of trees to a summer-house,
with a small lily-pond in front, and this in turn is backed up by a group of well-grown
timber trees, which were already on the ground when the gardens were designed, as were
a number of the other trees shown on the plan at either side of the drive.

Passing from the carriage court through the wrought-iron gate connecting with the
pleasure grounds, we come immediately into the small octagonal paved sun-dial court
shown in illustration No. 395, which connects with the paved upper terrace and forward
to the paved rose garden and lily-pond court, and thus a considerable stretch of paved
promenade of varied interest is obtained, which will be available when other parts of
the grounds are too sodden for comfortable exercise.

A good idea of the appearance of the main front of the house is given by illustration
No. 371, which faces the commencement to Chapter XX., especially if examined together
with the plan of the grounds. As will be seen, the point of view is from the extreme
end of the grass walk to the West of the tennis lawn, which gives the lowest of the
three terrace levels its special purpose in the scheme. All three terraces are contrived
with a view to giving the main fagade of the house the strong broad base which both
its setting and its architecture demand, and the long grass walks between herbaceous
borders which flank the lowest on either side emphasize this in a marked manner. The
strongly marked cross lines thus created again demand complementary treatment, which
is obtained by emphasizing the axial line through the centre of the building and the
flights of steps connecting the terraces, by means of the lily-pond, summer-house and
water steps placed at a little distance at the foot of the sloping lawn, which recedes
from the lowest terrace. This summer-house closes the garden vista in this direction,
and thus all the features of this side of the house are given connection and welded into
a complete and self-contained scheme.

On the West side of the mansion are two features specially deserving of notice.
The first is the rose garden, of which an enlarged plan is given (111. No. 393), and which
is also shown in the photographic view in illustration No. 394, though a little of the
effect is left to the imagination as the newly planted yew hedges will have such a very
different appearance when grown and trimmed to a straight line. It is of these two
gardens we spoke when referring to the need of shelter in a domain newly formed on
ground commanding extensive views. When the hedges are grown, they, together with
the fruit walls on the North, and the house to the East, will make them delightful for
use in the early and late Summer when the terrace garden and open lawns on the
South front of the house are too exposed to cutting winds for comfort. The pond garden
has quite a cloistral appearance, enclosed as it is by walls or buildings on three sides,
with its severely plain treatment, its rippling water, and the little terrace, while the vista
down the bowling alley prevents any suggestion of its being too shut in.

347

EXAMPLES OF GARDEN DESIGN.

JIB

FIG. 396. — THE MAIN TERRACE, DUNCHURCH LODGE, RUGBY.

FIG- 397-— THE CROQUET LAWN AND DOOR TO KITCHEN GARDEN, DUNCHURCH LODGE.

348

EXAMPLES OF GARDEN DESIGN.

To the North and North-east of the house we have the kitchen garden, frame A new
ground, orchard and paddock. The first of these is shown in illustrations Nos. 295 and country
314 ; and here, with the inspiriting help of a sympathetic client, I have tried to materialize seat-
all those ideas which have been so strongly insisted on in the Chapter dealing with
kitchen gardens, by making it one of the most attractive parts of the domain without in
the least impairing its usefulness. The main path of the garden is shown in illustration
No. 295, facing the opening to Chapter XV., and strikes the keynote of the design.
While nothing is introduced which has not a directly obvious utilitarian purpose, every
effort has been made to give each feature interest by the use of suitable material
and correct proportion and balancing of parts. Thus the little range of glass-houses
against the North wall of the garden is made additionally attractive by the symmetrically-
designed gardener's office at one end, and fruit store at the other, the former being clearly
seen at the end of the walk in illustration No. 295, and the latter in illustration No. 314.
These have been built of a purple-brown brick and oak wood-work, which, while they
strike a local note, are just the right colour to form the best possible background to the
green foliage and pale pink and white blossom of the fruit trees ; and the same material
is seen in the fruit walls, which have a quaint coping of flat and half-round tiles.

GARDENS TO AN ANCESTRAL DOMAIN.

Graythwaite Hall, which is situated in one of the valleys which border the Western
shores of Windermere, has been the seat of the illustrious and historical family of the
Sandys since the middle of the fifteenth century, and even for hundreds of years pre-
viously they held estates in West Cumberland which adjoins this part of Lancashire.
In fact, the history of the family has practically been bound up with the district from
the time of King John to the present day. My client thus brought with him a full
sympathy with the traditions of his ancestors ; and has with characteristic energy
remodelled the Hall in a style that is expressive of its history, and yet can keep rank
with the present, and has had every part <5f the estate equipped in this spirit.

To realize what has been done, it is necessary to understand the general arrange-
ments of the house, stables, and gardens prior to the scheme of improvement being
taken in hand. In the first place there was only one entrance to the grounds, which was
used for all purposes, the position being near the group of shrubs marked 10 on the plan,
a small postern gate, not shown, occupying the position of the old entrance, now serves
as a private way to the kitchen garden. Between this entrance and the position where
the two drives join, there was a rise, and from this to the main entrance portico a very
steep decline. There was no terrace of any kind, but masses of overgrown trees and
shrubs surrounded the house on every side. The ground, now converted into a formal
garden, and which is about sixteen feet higher than the carriage court, was the site of
the old stables ; this high ground came right up to the house. To the North and
opposite the recreation room are a row of large limes, whilst to the North-west corner
of the house, the ground rises in a mound ascended by a winding walk.

The ground to the South-west, or from the front of the house, falls in the direction
of the little bridge, but, owing to the large number of trees and shrubs, very little of
this was seen — in fact there was not a single open view in any direction, the Hall being
completely shut in.

The following description, which appeared in the " Gardeners' Chronicle " of Nov.
29th, 1896, gives a fair idea of the gardens as altered at that date.

' The design for these grounds, which are entirely new, is arranged so as to obtain
" as much of the picturesque as possible, and at the same time to involve but little
" extra labour in maintenance. The site, which is of a very undulating character, lies
" on bluestone rock, which makes excavation very expensive. Generally speaking, it

349

EXAMPLES OF GARDEN DESIGN.

FIG. 398.

350

EXAMPLES OF GARDEN DESIGN.

" falls to the West, and rises to the North-east and South-east, the mansion being placed An

" towards the North-east end of the pleasure ground. As the ground falls towards it ancestral

" from the East and South and North, and falls from the house towards the West, its <*omaitt.

" position as regards the main roads would be thought by some persons to be rather

" unfortunate, as the drive traverses a descent in approaching the Hall, which gives

"it a sunk appearance. This low-lying effect has now been removed by sinking

" the drive in one part of its course, by removing a large portion of the hill between

" the plantations numbered 10 and 12, by making the main entrance court to run

" level from the colonnade to a width of 60 feet, supporting it by a balustraded terrace

" wall, by forming a terrace on the North and West fronts and sinking these some-

" what so as to give greater elevation to the house. A part of this work has already

" been done, and gives the desired effect. Although situated in a beautiful district and

" forming part of a charming estate, there were, owing to the whole of the park and

" grounds being surrounded by a belt of oaks about a hundred years old, practically no

" views into the park or of the distant landscape. By felling a number of these oaks,

" they have been broken up into groups, and by this means many very fine views of

" the surrounding country are obtained. The crest of the hill which rises on the West

" side of the stream has also been cut through, and a view opened up across the park.

" By the removal of some cowsheds, barns, and a smithy, a very fine view, terminating

" in a rocky hill planted with Scotch Firs, has been opened up and is now seen from the

" walk which leads alongside the stream flowing through the park. By its margin it

" is intended to naturalise daffodils, spiraeas of sorts, iris, Japanese anemone, and other

" hardy free-flowering plants.

" The stables, which at present occupy a position near the house, are to be removed
" and a spacious new block built on ground convenient to the dwelling — in the position
" shown on the plan. A walled-in kitchen garden of about one and a half acres, with
" an excellent gardeners' cottage, and a range of glass, have already been erected on the
" South-east of the mansion. A number of old trees were found on the ground, most
" of which have been taken advantage of, and others have been transplanted to their
" present stations in the park and elsewhere. Conifers have been largely planted for
" shelter, and large quantities of the choicer rhododendrons, azaleas, and acers added to
" ensure variety and brilliancy of colour during the season."

Since the foregoing article appeared much has been done in many directions still
further to improve the gardens. In the first place, the old stables have been removed
and the site converted into a formal garden, the old bark barn at the end being remodelled
and made into a recreation room. The ground has also at great expense been excavated
from the end of the house, which has resulted in a great improvement. A drive con-
nects the front carriage turn with the side entrance court, and is spanned by an arch
designed by the late Mr. R. Knill Freeman, F.R.I.B.A., which leads to the formal garden
on the site of the old stables, and is shown in illustration No. 400. The proprietor's
love of choice flowering plants has resulted in a fine collection of hardy perennials
and flowering shrubs, which is increasing annually. The rustic bridge which spanned
the little stream has been supplanted by the oak bridge shown in illustration No. 189,
a sundial has also been designed to stand on the terrace ; and suitable garden furniture
has been introduced.

As rock abounds everywhere within a few feet of the surface, terrace formation, as
generally understood, was almost impossible. The plan as illustrated therefore represents
the design as fitted to the existing contours, even the terrace levels being controlled by
existing conditions. Whatever exceptions may be taken to certain portions of the
reconstruction, it may be said that the luxuriant way in which everything grows renders
the garden at all times interesting.

35i

EXAMPLES OF GARDEN DESIGN.

GARDENS j GRAYmmiTE
HALL », WJDERMERE D

EXAMPLES OF GARDEN DESIGN.

The following is a key to the letters and figures on the plan :-

A. Seat on mound.

B. Flight of steps with seats at head.

C. Lead figure on stone base (the two

stars represent old yews).

D. Sundial.

E. Luggage entrance and court.

F. Gateway in arched opening.

G. Recreation room.
H. Carriage court.

I. Rhododendrons by side of waterfall.

J. Garden house.

K. Bridge. (See 111. No. 189).

— WK)

.rH=^ ^

i&Uz^-sM -"

GATEWAY AND STEPS TO FORECOURT.

> >>^-^

1. Three plantations composed princi-

pally of choice hybrid rhodo-
dendrons.

2. Azaleas and Rhododendrons on

sloping bank.

FIG. 400.

13-
14-
15-

16.

ancestral
domain.

3. Groups of deciduous flowering shrubs. 17.

4. Rhododendron Wilsonii and 18.

Mezerions. 19.
5, 6. Blue Cedars (C. atlantica glauca), with

groups of Pernettyas and Vacci- 20.

niums on the grass. 21.

7. Large groups of choice Pernettyas 22.

round base of rock. 23.

8. Spanish Gorse. 24.

9. Cream Broom.

10. Hybrid Rhododendrons. 25.

11. A cutting between two rock banks 26.

planted with rock plants and ferns. 27.

12. Double Gorse.

Collection of American plants.

A large old Azalea.

Pernettyas, Spiraeas, Mezerions and other

shrubs.

Hardy heaths planted on rock bank.
Collection of choice Pines.
Rhododendron caucasicum album.
Large group of old Ponticum Rhodo-
dendrons.

Group of Prunus Pissardii.
Mahonia and other shade-loving plants.
Irish heaths.
Group of rock shrubs.
Mahonia, Gaultheria, Skimmia and

other deciduous flowering shrubs.
Rhododendron and Ghent Azaleas.
Three pigmy Pines.

Collection of Hollies and standard flower-
ing shrubs.

353

EXAMPLES OF GARDEN DESIGN.

An Nearly twenty years ago, when first consulted by Colonel Sandys, I regretted that

ancestral his predecessor had removed the entrance from the old court marked E on the plan,
domain. illustration No. 399, to the South-west front, which 1 considered it was highly desirable

should be retained as the main garden front. It was, however, too late to make further
alterations to the house, but the prospect of certain additions to the Hall has reopened
the question, and now plans have been prepared which not only restore the old carriage
court to its former place, but permit of a fine drive to the North entrance, with gatehouses
and avenue approach, and an improved terrace scheme on the garden front. These
improvements are shown on illustration No. 41. It should be noted that the stables
are on a higher level than is the avenue, and therefore the old drive to the East
entrance is still to be used as the stable approach.

The old carriage court on the South front is now laid out as a paved flower court,
with broad steps sweeping down to the lower lawn, and, to give additional interest to
the undulating lawn, a sundial is placed in a line central with the colonnade.

Although this later development may seem sweeping and extensive, it is a fact that
very little of the work already done will have to be undone. All the drives are still
used excepting from the point marked n on illustration No. 399 to the house, which
is to be narrowed to the width of a path ; and the only alteration to the terrace walls
is the insertion of two extra' flights of steps. The undulating lawns and shrubberies are
untouched, and about two-thirds of the Dutch garden is retained.

Several schemes have been prepared by the architect for the additions to the Hall,
yet all allow of the general arrangement indicated on this plan ; but as the building,
which combines recreation-rooms with the estate-offices, as recently remodelled, is so
successful, it was suggested that another building of similar design, placed to balance
it at a similar angle, would give a dignified and inviting approach to the court.

This new drive will give the mansion its proper connection with the estate, and
fittingly form the principal approach to the house. The estate extends very little beyond
the boundary of the pleasure grounds on the South side, yet stretches for miles in a
North-easterly direction, taking in the whole of Esthwaite lake, and including most
of the land on its Western shore, right up to the village of Hawkshead, where the church
has from time immemorial been connected with the Sandys family.

A LAKE DISTRICT GARDEN.

The plan of this garden is introduced as typical of those cases in which local
conditions and the exceptional contours of the site very largely predetermine the dis-
position of the various features. It is situated on high ground not far from the village
of Windermere, and, as is usual in that district, unique and magnificent views are to be
obtained in a Northerly and North-westerly direction, and these are of such paramount
importance that all other considerations of aspect must be made subservient to them.
It thus comes about that many houses in the district, of which the present instance is
one, are, by choice, made with the principal windows very unusually placed, while the
carriage approach is from the South or South-east, thus reversing the ordinary arrange-
ment. As a rule, too, the more rugged and uneven the site, the better the views, as,
by placing the house on an elevated portion, surrounding obstacles are overcome, and a
most expansive panoramic outlook obtained. This was done in the present instance so
far as conveniently possible, and the ground slopes steeply away from it on two sides,
as will be seen from the arrangement of terrace walls and steps shown on the plan and
also on the section. Of the remaining two sides, that on which the stables stand, was
levelled by excavating a considerable amount of material, while that devoted to the main
approach, though it has a strong cross slope, allowed of the drive being made practically
level from end to end by laying it down in the strong curves shown.

354

EXAMPLES OF GARDEN DESIGN.

Such pronounced curves as these, while they would be absurd on a gently undulating
site, are perfectly right, and, in fact, pleasing when the reason and necessity for them
are so apparent, as in the present instance. There is all the difference in the world
between the two cases, in the one they are irritating, while in the other they emphasize
the most marked characteristic of the site, which fact alone is sufficient justification for
their employment.

Along the top of the plan is indicated a public footpath skirting the gardens. This is
practically level for the distance shown, and is higher than any portion of the grounds
themselves, so much so that a retaining wall with strong buttresses was necessary to the
kitchen garden, and, in passing along it, one overlooks the roofs of the stable block.
This made it very difficult to obtain any privacy, which has nevertheless been quite

FIG. 4OI.

adequately attained by planting large conifers inside the fence. The general slope is
from this fence across to the Western corner by the tennis lawn, the situation of which
was dictated by a slightly less steep place which made its formation possible.

When the Writer was first called in to advise on the reconstruction of the garden
some eighteen years ago, the grounds were about half their present size, all that portion
North of a line connecting the northernmost corner of the tennis lawn with the potting
shed having been made since. The kitchen garden occupied the piece of ground between
the numbers 10 and 12 on the plan, and the remainder contained few suggestions of
ordered design. Since the accompanying plan was prepared, a large billiard-room has
been built to the North-east of the carriage turn, somewhat altering its character. Large
oaks and conifers not only existed in the garden but in the neighbouring grounds, and
these have been incorporated in the new plantations.

A Lake
District

garden.

355

EXAMPLES OF GARDEN DESIGN.

GARDENS ./BALLIMOKE
ARGYLL

SCALE or

KEY

Vvtom TO- KwTMouse

POnD FOR WATERLILIti
Cf/IRDCM TfMPLC
BAMBOO OflRBth
WttTtRERS HOaiti

TRirWECi TO JHflPl
WHO tiriRDEH
CHOICE RHObOOEr

8 RHODODENDRON* /

9 COLLE.CTIOM OF IRlJ

flflD BOC PLrtNT5

10 ROCKiTtPi ^R<WDTOC01T/1GE

11 PRIVATE. WJAD 70 jr/lBLE5

12 rtlXEb PLAT1WTIOM

s>: v!BV-* -'^V^'

''•>• ^rK^K^- 1 ..•-. m-~'r. f. rfcv',"^*!

SECTION ON A.B

FIG. 402.
356

EXAMPLES OF GARDEN DESIGN.

A HIGHLAND GARDEN.

The seat of Major MacRae-Gilstrap is a charming domain on Loch Fyne, a good A Highland
view of the mansion being obtained from the steamers to and from Inveraray, at a point garden.
near the Beacon or Otter, the new pier at Otter Ferry being on the estate. This pier
is now the principal point of debarkation, but during certain months of the year the
pier at Tighnabruaich has to be used, and, as this is some twelve miles distant, it was
considered advisable (on account of this isolation) to make the mansion and grounds in
themselves as complete and interesting as possible. At the time I was called in to
advise, it had been decided to add considerably to the main building and to bring the
old portions, which possessed little architectural merit, into character with the new work,
additions and improvements which were most successfully carried out by W. Lieper,
Esq., R.S.A., of Glasgow.

Except for a fine walled-in kitchen garden, the main carriage drives shown on the
plan, which have only been slightly altered, and a little stretch of lawn on the Eastern
side of the house, it could not be said that " grounds," in the usual acceptance of the
term, existed. The idea presented by the site was, that it had formerly been a bluff or
hill which had been levelled down to form a base on which to place the residence, the
material excavated being thrown over the edge of the already steep embankment leading
down to the stream, which latter, as it then was, flowing between ugly, irregular, mortar
built walls, could not be said to be a natural feature.

The estate as a whole is splendidly wooded, especially near the house, where certain
ornamental trees, including conifers apparently of fifty or sixty years' growth, are dotted
about the lawn, the positions of these and also of some very old hollies being indicated
on the plan. Almost all the hills on the estate are planted, and, as seen from the man-
sion, form numerous pleasing glades and vistas, and the ground below the carriage court
falls in sloping undulations to the shore of the Loch. The drive to the right of the
plan is used as an approach from Tighnabruaich, and also leads by a branch drive to
the stables, while that to the left passes for about a mile and a half along the shore
to Otter Ferry. It may be added that the home-park, which of course is divided
into a series of fields and plantations on which considerable improvements have been
effected, extends to about one thousand acres.

These conditions have had a marked influence on the arrangement of the plan of
the house. Both dining and drawing rooms have, for the purpose of gaining a view
of the loch, a window overlooking the carriage court, while the principal window of the
drawing-room overlooks the terraces. The large hall is lighted by the mullioned bay
window shown on the section at the foot of the plan (111. No. 402), the billiard and
smoke rooms being in the tower ; both the hall and billiard-room overlook the sundial
garden and the summer-house walk.

The plan just referred to does not however include the whole of the pleasure
grounds, as to have done so would have reduced the details too minutely. It may
however be noted that, amongst other things, a fine cricket crease has been laid down,
and that, adjoining the grounds, there is a cottage, which in Scotland is generally known
as the Dower house. This has its own gardens, and also a separate drive leading to it,
all laid out from the writer's designs.

In execution, the plan has been modified in one or two details, such as by the
omission of the bridge across the ravine, and a slight alteration to the terraces. It
will be noticed that the scheme as a whole includes almost every type of garden plan-
ning, from the formal terraces to the freest possible treatment of the stream (111. No. 404).
Perhaps the most noticeable features are the long straight lines of walk, especially the one
leading to the summer-house, and in the opposite direction the one which is carried over
the bridge and on to the opposite side of the valley. There are also the long terrace walls,

357

EXAMPLES OF GARDEN DESIGN.

FIG. 403.— BALLIMORE. VIEW FROM CARRIAGE COURT OVER THE PANEL GARDEN.

FIG. 404. — BALLIMORE ARTIFICIAL ROCKWORK IN THE STREAM.

358

EXAMPLES OF GARDEN DESIGN.

the intention being to lay out certain prominent lines which would grip the landscape, A Highland
and give a feeling of connection between the mansion, garden, and park, the summer- garden.
house and small temple marking the end of this formal treatment. This severe style,
while adding to the effect of the mansion, in no way detracts from the purely natural
treatment of the stream, each being helped by the sharp contrast. As will be seen from
the photographs, the terrace walls are solid, that is to say, there is no balustrade and
the walls are built of the local ragstone, the dressed work being confined to pillars, string,
coping and finials, thus allowing the planting of a large variety of climbers, which adds
so much to their charm.

The freer or winding walks are very little seen from the formal part of the garden,
and pleasantly mark the rise, fall, and general contour of the ground. There was a
very important stipulation in their arrangement — -viz., that a series of pleasant walks
should be provided over which a bath-chair could be wheeled, without steps or obstacles,
a point which should oftener be considered when laying out gardens on a broad scale.

The stream has been a somewhat extensive piece of work, in connection with which
the skill of Mr. Pulham has been called into requisition. A part of this work, with the
little bridge marked 9 on the plan, is shown in illustration No. 261. In improving
this stream there were two considerations of a practical nature which had to be kept
in view : the first being to make the banks safe against spates or floods, and the second
to construct a series of pools for fish to sport in. As already stated, the sides of the
stream were previously supported by rough irregularly built walls, the bottom of the
stream being rough shaly rock, and the improvements were effected by removing the
walls and excavating a part of the rock, and by adding new strata, as shown in the
illustration just referred to, the result being much more in harmony with the surroundings
than the conduit which formerly existed.

Ballimore is an ideal place for the formation of an arboricultural or botanical collec-
tion, a fact that has been recognised and pursued to full advantage by its owner, whose
collection of ornamental trees and flowering plants bids fair to equal that of any other
client by whom the writer has been retained. The beds and borders on the terrace
are planted with a choice collection of hardy perennials, florist's flowers and roses. The
walls are clothed with honeysuckles, clematis, climbing roses, wistarias, vitis coignetiae,
magnolias, and other hardy climbers. In the quiet pools there are choice nympheae
and other aquatics ; along the margins of the stream are bog plants such as iris, caltha,
and spiraea, and also large quantities of the choicer daffodils and other tubers, all of
which give promise of becoming naturalised and increasing. The terrace borders are
planted entirely with hardy perennials, and roses. The remaining portions of the
scheme are explained by the numbers and key on the plan.

GARDENS ON A FLAT SITE.

Little Onn Hall is situated about eight miles from Stafford, and three miles from the
village of Gnosall, which is the nearest railway station. The present mansion has
recently undergone considerable alterations and additions, a new entrance hall and billiard-
room having been added, and other portions of the house remodelled. The older por-
tions of the hall, built about 25 years ago, did not possess any very great architectural
merit, but the present completed building, which is in stone, has considerable character ;
the numerous gables, each furnished with crowfeet or corbie steps, the stone mullioned
windows, and the large climber-covered wall-space, making a very pleasing centre round
which to form a garden.

The house covers a somewhat large area, the billiard-room, hall, and one end of the
drawing-room facing West, the drawing-room and dining-room having one side to the
South ; the latter room and also the library being lighted principally from the East

359

EXAMPLES OF GARDEN DESIGN

LAY-OUT OF GARDENS AT
LITTLE ONN HALL
STAFFORDSHIRE

i LATEVINERY. o. POTTING Srieo.

i.PAur\ HOUSE, f. YARD.

i. EARLY VINERY. 8. PEACH Mouse,

•f. PLANT-HOUSE. 9. HEATED FRAME.

J. FERNERY. 10 CARDENtffS COTTAOt

ThOMAi • H-
LANCASTER 6 LONDON

FIG. 405.

360

EXAMPLES OF GARDEN DESIGN.

From this it will be seen that the entertaining rooms and hall occupy three sides of
the house. The site upon which the whole has been erected, and for a considerable
distance round it, is practically flat ; but the ground floor of the house had been very
wisely raised some four feet above the general level, thus allowing of a terrace which is
carried round the South and East fronts. In addition to the four feet gained by rais-
ing the mansion, the ground falls about five feet to both West and East ; the level
of the kitchen gardens and of the lower step into the rose garden being almost the same.
On account of this rise in floor level, and of the fall to the park and kitchen garden,
the Hall looks much more elevated than it did before the commencement of these im-
provements. To gain a clear idea of this change of level, two sections are here given ;
section A.B. showing the terrace to the South, the drive and the rose garden, and
section C.D. the terraces and flower garden to the East side of house.

Only two portions of the present scheme existed prior to my being consulted.
These are the kitchen garden, and the moat or pond, both of which, as shown on the
plan, are slightly altered. The moat seems at one time to have surrounded monastic or

Gardens on
a flat site,

FIG. 406. — SECTIONS THROUGH GROUNDS AT LITTLE ONN HALL.

other important buildings, and to have been stocked with fish. The old fish stews,
divided into five compartments, still remain, and are being carefully preserved.

Before this work was carried out, the house had the appearance of growing out of
the ground, without any architectural supports or base. In a hilly and rocky country,
this may occasionally be a proper way for it to be arranged, especially when it reposes
on a cliff or rocks ; but in a level country the arrangement is apt to give the building
a depressed appearance, and suggest dampness.

It will thus be seen that in designing these gardens, the improvements to be aimed
at were, first, and most important, to give elevation and base to the house, secured, as
has been suggested, by an arrangement of terraces ; secondly, to impart plenty of colour,
which is provided by the rose gardens, flower gardens, and borders arranged for herba-
ceous flowering plants ; finally, to unite the old kitchen garden and moat with the other
portion of the pleasure grounds. The total area remodelled, including the kitchen
garden, is eight and a half acres, and within this area considerable variety has been
obtained, while the compactness of the gardens allows of their being kept in good order
with the minimum of labour.

361

EXAMPLES OF GARDEN DESIGN.

FIG. 407. — ROSE GARDEN, LITTLE ONN HALL, LOOKING TOWARDS THE HOUSE.

FIG. 408. — LITTLE ONN HALL, VIEW FROM WALL OF CARRIAGE COURT.

'«
362

EXAMPLES OF GARDEN DESIGN.

In the park there are a number of fine old trees, mostly oak, elm, and sycamore, Gardens on
which were incorporated in the plan of the park plantations shown in illustration No. 350 ; a flat s^e-
also good young timber plantations between the North end of the house and the stables,
and a fine belt of beech of about 40 years' growth in the plantation near the moat,
between the tennis lawn and the public highway, extending in width from the fence
shown on the plan to the edge of the moat. This young timber had been much injured
by a number of spruce, planted evidently as nursers, which were felled and replaced with
undergrowths, consisting of rhododendrons, — especially R. caucasicum album, which is a
capital grower in shade — azaleas, lilacs, common yews, hollies and brambles, with large
patches of St. John's wort, periwinkle, ground ivy, vaccineum and gaultheria. Amongst
these, again, are naturalised snowdrops, daffodils, wood anemones, wood hyacinths,
American wood lilies, and other hardy Spring flowers, while on the margin of the pond
are planted Iris kampferii, Iris florentina, and all sorts of sub-aquatic plants. In the
pond are planted a fine collection of water lilies, water hawthorn, nelumbiums, &c.

In addition to the yew and sweet briar hedges, Irish yews were arranged on the
terrace, and also golden and common yews clipped into shape, mostly as squares or
pyramids. The rose garden, which occupies such an important position between the
carriage court and the park, is planted with old-fashioned varieties, such as the York
and Lancaster, the old blush, China, and damask, musk and Macartney, all planted in
masses ; and on the walls are choice tea and noisette varieties, which are all growing
freely.

Some of the details are indicated on the sections, and these, in addition to those
shown in the photographs, will give a good idea of the effect obtained in the several
parts of this garden, and also serve to show the importance attached to architectural
features in a level district ; this being one of those places which could not have
been converted into a satisfactory garden without recourse to the many forms of
garden architecture that are here introduced.

A GARDEN IN GRANITE.

Although only completed eighteen months before it was photographed, this garden
proves the soundness of certain principles already several times insisted upon, namely :—
that stone walls, of which some garden owners seem so afraid, may present great oppor-
tunities for garden effects, and that local materials and building methods should invariably
be adopted wherever possible ; also that much ornamental detail is generally unnecessary,
while such as is allowable should express as simply as possible the character of the
constructive material. This West-country garden is situated in a district abounding in a
rough-grained granite, found lying on the surface of the surrounding moors and woods,
and always beautifully weathered on the exposed face. The stone splits well but is
not adapted to fine dressing or small moulds, yet is most effective in squared blocks or
columns, with walls built in rough rubble. Instead of classic nosing to the steps, for
instance, the undershadow is obtained by a roughly picked splay rounded over to the
face of the tread, which are set in random lengths laid on a solid rubble core.

In the wall garden which figures in the end papers to the book, no dressing beyond
rough scabbling was attempted, the crannies being filled with rock plants. The success
of this work has inclined me still more towards simple retaining walls in preference to
expensive pierced work and balustrades, which, though necessary to mansions designed
in the grand style, are not essential to houses of moderate dimensions ; and the money
thus saved could be more effectively expended upon good modern sculpture.

I was called upon to advise on the improvement of the property, about eight
years ago, before any serious plans had been made for the house or its setting ; the
owner having decided to improve the existing residence and to lay out new gardens,

363

EXAMPLES OF GARDEN DESIGN.

FlANyAWEST
COINTRYU

CARDED

EXAMPLES OF GARDEN DESIGN.

which were to incorporate the old kitchen garden and a lake formed by his predecessor Garden in
in the valley below, both of which have undergone many alterations and modifications granite.
to bring them into harmony with the general scheme. Although the alterations to the
mansion were so drastic that it might with more truth have been regarded as
having been rebuilt than altered, the retention of the original house formed part of the
plans, the gardens having undergone entire reconstruction on a scale which bears no
relationship to their original arrangement.

The first radical and necessary change was to bring the main entrance to the house
from the South to the West, thus leaving the South front free for garden developments,
and ensuring that the delightful prospect, here expanding over rounded hills bordering
Dartmoor and the famous Doone Glen, be viewed across stretches of restful lawn, un-
broken by drives or gravelled spaces.

The plan and elevations of the residence were developed in a style distinctly homely,
and somewhat symmetrically, with the masses agreeably broken by pleasing projections
and wings, as shown by the accompanying photographs, the architect (the late Mr.
Dan Gibson), whose influence is also traceable in one or two of the garden details, being
appointed on my recommendation. A correspondingly massive and homelike effect has
been sought in the gardens, nor is symmetry wholly absent.

Owing to the importance of the work, the great difference" in, and extreme difficulty of
treating the levels, the large number of buildings set at all angles, and the necessity
of preserving the sparsely distributed timber trees, a careful survey, with a complete
grid of levels, was necessary. On this plan and grid of levels were drawn the sections,
and the preliminary plans, including all terraces with properly defined levels, thus
ensuring a feasible and workable scheme before proceeding to working drawings. To
obviate expensive excavation, all sweeping changes of level were avoided.

The two sections show that on the West, or entrance front of the house, the ground
rises suddenly some 15 feet ; this decided the width of the carriage court, which is as
wide as the ground allows, and looks much wider on the site than the plan suggests, the
central flight of steps leading to the tennis courts broadening the effect considerably.
The grass terraces and tennis courts promise to be the most charming features in the
garden, but cannot be presented photographically until the yew hedges have had two years
more growth ; for this reason a detailed description, with enlarged plans and cross-
section of this part of the garden, are necessary to give an idea of the ultimate effect.
Being on the West of the house and considerably above it, it was sought to keep this
part of the scheme quiet and restful. There are therefore no flower borders, but broad
stretches of quiet lawns surrounded by grassy slopes, and yew hedges to be cut to shape,
while at right angles to the entrance, and in a line with the steps rising with the natural
level of the ground, stretches a wide open grass glade with cedars planted at either
side, the end of the glade being furnished with an architectural pavilion or tea house.

The tennis lawn is one hundred and twenty feet square, thus giving room for two
creases which may be placed either way, with recessed curves for seats and statuary
figures representing the Seasons. On the West of the tennis lawn is a wide raised grass
terrace, a point of vantage for onlookers. The corner recesses make corresponding
bastions on the outside, and therein are planted Pyrus Malus floribunda, which grace the
picture with their showers of small apple-like blossom rising above the sombre green
of the yew.

North of the tennis lawn, on a higher level, and partially screened by the yew
hedges, is a pergola with rough stone columns connected with the garden house, which
in turn communicates with the upper floor of the mansion.

The stables and motor-house are on the North, as is also the service road ; but,
as tradesmen generally use the road through the stable yard or by way of the kitchen

365

EXAMPLES OF GARDEN DESIGN.

L_l L— 2

I L_L_S

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fc
o

o
o

£
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a
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366

EXAMPLES OF GARDEN DESIGN.

FIG. 412. — TEA-HOUSE AT THE END OF THE GLADE, WOOD, DEVONSHIRE.

•«*»«** f

*<«.« 1 .;..
FIG. 413. — THE NORTH GARDEN, WOOD, DEVONSHIRE.

367

EXAMPLES OF GARDEN DESIGN.

Garden in garden, the road which connects to the carriage court through the gate-house is little
granite. used except by visitors. The opportunity was seized to make a cool recessed North

garden overlooked by the billiard -room, to the formation of which the plan of the house
and the stable buildings lend themselves admirably.

On the South front, the main object was to merge the house into the surroundings
without harshness or discord, and, looking South from the house, to secure a pleasing
composition with a rich yet harmonious foreground to the beautiful home landscape
beyond (111. No. 366). It was principally to secure the best results in this direction
that the two garden houses were erected to act as frames to the beautiful picture, the
fountain and figure being introduced to focus the interest surrounding the circular water-
lily pond. The wide circular paved walk is reached on three sides by steps leading
down to the pond. From the South side is a long flight of steps leading to the wall
garden (111. No. 266), one of the least expensive yet nevertheless most successful parts of
the domain, which is intended to mark the transition between the formal portion of, the
grounds and the landscape-garden and park, to which,, and to the lake, the curved
walk shown on the plan leads.

On a steep decline to the East side, fully twenty feet below the house level, is the
old kitchen garden, which has been altered and improved beyond recognition. Being
both handy and accessible, it adds additional interest to the gardens, and promises
to be a much-sought-after pleasaunce ; it therefore received that attention which always
repays one when the useful and the pleasant are suitably combined. The range of
plant and fruit houses, the espalier (111. No. 313), the yew hedges and rose borders,
the wide borders of hardy perennials, the rough granite walls with slate-hooded coping
over which roses and other climbers are allowed to grow, the well-trained fruit trees and
borders of sweet herbs — all give beauty and interest to the whole.

GARDENS TO A CLASSIC RENAISSANCE MANSION.

Seldom is a garden designer called upon to plan terraces and gardens to accord
with a house so unique as the one shown in illustration No. 415. The architects who
designed such houses as this have generally left some record of their intentions regarding
the gardens ; but whatever may have been planned, practically nothing has been carried
out, a short length of balustraded terrace being the only survival of a definite garden
treatment. In the park, however, a fine avenue of elms, evidently planted at about
the same date that the house was built, would seem to show that a garden and park
scheme had been prepared. There is also strong evidence, in the river-like lake shown
in illustration No. 259, that some capable follower of the landscape school had been
consulted at a later period, and it is probable that this gentleman set out the various
groups of trees in the park.

Not only are the architectural merits of the house exceptional, but the site is also,
the gentle fall of the ground lending itself to that broad classic treatment which the
character of the mansion demands, while the views from the house across the beautiful,
well-wooded, undulating park, over the lake, and so forward to. the wooded higher ground
in the distance, provide quite a charming setting. Before Mr. Waring discovered the
house, it had long been unoccupied, like many originally first-class residences which' lose
caste, and must either suffer transformation, or stand tenantless and go the way of ruin.
A plan for cutting up the estate into building plots, including the destruction of the
house, had actually been prepared.

To obtain an adequate idea of the lie of the ground, it is necessary to compare the
plan with the perspective view noticing the drop from the centre of the terraces to the
commencement of the central avenue, from which point there is a gradual fall to the lake
along it entire length, which extends some 150 yards. As the perspective view suggests,

368

EXAMPLES OF GARDEN DESIGN.

FIG. 414.

369

EXAMPLES OF GARDEN DESIGN.

there is very little cross fall, possibly 6 feet in all, this being towards the right of the Classic
picture. The garden scheme is not only helped by having a fine house as its centre, Renais-
and a fall of ground which lends itself to proportionate terraces, but is also greatly sance
assisted by the background of stately timber trees, composed of elms, oaks, sycamore, Domain.
beech and Scotch firs, which are indicated in outline on the perspective view ; there
are also a number of fine trees, including a noble cedar of Lebanon, within the grounds,
which have in great measure influenced this plan.

The arrangement was further influenced by the laundry and the stables shown in
the plan (111. No. 414), both of which are erections in the Georgian style of
architecture, built with small red bricks, and having the typical prominent wooden
cornices and eaves : really effective buildings suitable for incorporation in the general
composition. On the East, the drive runs past the laundry, thence through a coppice
wood beyond. This laundry is so placed as to form a fitting architectural termination
to the long and effective elm avenue, near the right-hand edge of the plan. To the

FIG. 416. — ANCIENT WOODCUT OF FOOTS CRAY PLACE.

West, the drive leads with a measure of privacy between hedges to the kitchen garden
and stables, the roof and cupola of which group happily amidst the trees, and are
shown in illustration No. 153 •

As already stated, there is some very fine timber on the North side of house and
garden extending on the West round by the stables ; this is indicated by the irregular-
shaped plantations shown on the plan.

In the original plan of the house, the carriage court was on the South side, the wide
handsome flight of stairs leading up to the entrance hall and the picture gallery being
on the North ; this order is now reversed, with great advantage both to house and
garden, chiefly because the carriage court level is now the same as that of the entertaining
floor, while on the South, the wide stairs or steps give a very fine connecting link with
the gardens, which, being on a much lower level, are looked down upon from the picture
gallery, which is also used as a grand parlour. Another very great advantage arising out

371

Classic
Renais-
sance
domain.

EXAMPLES OF GARDEN DESIGN.

of the alterations is that the gardens are now quite screened from the carriage drive,
leaving the whole of the ground on three sides of the house free for their extension.

To make a success of this scheme, length and breadth of line, and plain unbroken
surfaces were much more necessary than wealth of detail, and it is upon this bold
simplicity that the composition depends. The several levels suggested differing garden
departments, which, though intimately connected and part of one broad design, are
nevertheless separate enclosures ; each portion having its own special treatment and
its own individual interest.

The lay-out of the South front and the extended terrace base, with its pavilions
at each end, are intended to secure the proper connection which should exist between
the house and garden. How far this merging of one part into another is likely to be
realized is shown by the perspective view (111. No. 415). Those versed in garden

•i

FIG. 417. — THE AVIARY, FOOTS CRAY PLACE.

design can picture for themselves the effect of a view from instead of toward the house,
with the terracing as a foreground to the true English park, and the wide double avenue
uniting the lake and its classic pavilion with the formal garden.

The central or balustraded part of the first terrace, which is old, and not supported
on a sufficiently deep wall for the execution of the new scheme has been underpinned,
the centre being converted into a long alcove with a circular bay, which gives the
appearance of an overhanging garden. This is to be paved with flags of two colours
arranged to a pattern, the balustraded wall being ornamented with lead figures, while
the flat-topped supporting buttresses arranged at intervals will be finished with lead
urns. The wall dividing the second and third terraces is treated in a simple manner,
the coping in the former case rising only eighteen inches above the grass ; this second

372

EXAMPLES OF GARDEN DESIGN.

terrace is principally laid down in grass, to be used as tennis or croquet lawns. To
this part of the gardens a good deal of colour is added by the long flower border
under the terrace wall, and semicircular rose gardens at either end ; the latter are
backed by yew hedges with pillars and urns in front. The terrace wall, which divides
the more ornate portions of the grounds from the park, is, like the second wall, treated
in a simple manner, but in the central bay there is a parapet wall which rises 2 ft.
9 inches above the terrace level, with an imposing gateway leading down to the avenue.

Leading from the Easterly half of the lawn, devoted to croquet, is a lily pond,
advantageously sunk some three feet lower than the lawn.

Mention ought to be made of the reserve garden in the South-west corner, fronting
the stables, which is the original kitchen garden transformed into a walled-in retreat
of fruit-trees and flowers (111. No. 142). It is bordered on the South side by a long
bowling alley. Of this alley "two views are shown in illustrations Nos. 152 and 153, one
looking West towards the pergola and octagonal garden house, and the other Eastwards
towards the stables with the hedge and row of limes which form its South boundary.

On both the East and West sides of the domain, the same feeling of breadth is
maintained by broad lawns and extended vistas, especially on the East, where the per-
vading keynote is struck by wide glades cut through the surrounding woodland, which
all radiate from the central dome of the house and are hedged in with tree box.

Beyond the bounds of the scheme included in the plan there is a cricket ground,
and the wild garden shown in illustration No. 273. A feature is also to be made of the
water temple on the bank of the lake terminating the avenue ; the upper part being
arranged as a garden house and the under part as a boat-house. A somewhat novel
arrangement for the overflow is that it falls towards the garden by a semi-circular-
stepped cascade, and then returns in a culvert under the lake and into a stream in the
meadows below.

A MOUNTAIN HOME.

It is with especial pleasure that the Author approaches the task of describing the
grounds to Roynton Cottage, the mountain home of Sir William Lever, Bart., for, of all
the gardens laid out by him, there have been few which have provided such scope for
originality of treatment and, at the same time, such an incentive to meet the remark-
able opportunities presented by the nature of the site and its surroundings, an incentive
heightened and enlarged by the exceptionally sympathetic interest shown in the work
by his Client.

Roynton Cottage, or " The Bungalow," as it is more often referred to locally, stands
high up on the open fell-side above Horwich, which, with its large railway engineering
works, lies down in the hollow below, some six miles from Sir William Lever's native
place of Bolton.

As one approaches the site of the garden from the town, one climbs up and up by
a remarkably engineered road, laid out by the owner of the Cottage, with gorse and
brake rising up on the one side, and falling steeply away on the other in precipitous
banks, and with an ever-widening prospect spread out at one's feet ; the keen mountain
air in one's face or a breeze blowing straight from the Irish Sea, with nothing between it
and us to break its force or tone down its exhilarating freshness.

Arrived at the Cottage, and standing on the top terrace by the telescope mount-
ing, almost exactly 1,000 feet above sea level, a wonderful prospect that could rarely be
equalled in these Islands for extent and variety lies before us. Immediately below, and
stretching away into the middle distance to the right, are the huge reservoirs which
supply Liverpool with water, and which possess, at least at this distance, all the aesthetic
qualities of large natural lakes, and, beyond these, for those whose sight is keen enough,

Classic
Renais-
sance
Domain.

373

EXAMPLES OF GARDEN DESIGN.

stretch range after range of hills to the Welsh Mountains on our left front and those of Mountain
the English Lake District more to our right. Home.

The names engraved on the mounting for the large telescope on the terrace will
give a more vivid idea of the range of view than any description. The more important
of these, reading from South to North, are :— Warrington, Port Sunlight, New Brighton
(the tower at which place is visible by the naked eye in very clear weather), Snowdon,
Llandudno, Anglesey, Southport, Lytham, Douglas, Blackpool, Fleetwood, Wigtown, Preston,
Bowfell, Skiddaw, and Helvellyn.

The country all round the Liverpool water-works, including the water-shed or col-
lecting ground for the reservoirs, is, of course, preserved by the Authorities in order to
insure that the supply shall remain uncontaminated, and thus there is no fear of this
wonderful prospect being deteriorated — it could never be spoiled— by the erection of large
works or other eye-sores. In addition to this, Sir William Lever has given a large
tract of ground sloping into the valley to his native town of Bolton for a public park,
and it is being left largely in a state of nature but for the formation of the necessary
roads and other features, such as refreshment rooms, essential to a park at such a dis-
tance from the town, so that it blends perfectly with its rugged surroundings.

We may incidentally remark that there is a splendid electric tram service from
Bolton to within a short distance of the park gates, so that, notwithstanding that it is
six miles from that town, it is much appreciated and regularly used by a very large
number of holiday-makers, not only from Bolton itself, but also from Chorley and the
other surrounding Lancashire towns.

To return to the consideration of the prospect from the new garden, we find the
view on the opposite or East side of the Cottage, though not so extensive, just as rugged
and romantic, for the steep fell-side slopes up in one unbroken precipitous sweep to the
summit of Rivington Pike, where it is crowned, with a square battlemented tower, which
forms a landmark for many miles round, and is wonderfully effective as viewed from
down in the valley in the neighbourhood of Horwich. The summit of the Pike and a
way up to it have also been dedicated to the public by the owner of the Cottage.

From the foregoing description it will be seen that all the surroundings of the new
garden would be rugged and wild in the extreme, and that, if it were to harmonize with
them and fall properly into its place and express their spirit, it must not only receive
exceptional breadth of treatment at every point, but must, in its architectural details,
be free from the slightest suspicion of hyper-cultivation. How far this result has been
attained must be left very largely to the reader to judge from a comparison of the plan
with the accompanying photographs. As will be seen, the native stone has been quarried
and used everywhere, and this alone gives a pronounced local note which the heavy,
rugged style of building which has been adopted and the brown-coloured slates used, have
still further enhanced.

The great need of this garden, high up on the treeless uplands, was, of course, shelter.
This has been obtained by means of the pergolas shown in more than one of the photo-
graphs, and by working in a little shelter for a seat wherever possible. Two of these
are shown in illustration No. 423, and a careful examination of the interior of the
pergola in illustration No. 420 will reveal one of several recesses in the back wall which
have been contrived out of waste space and roofed over with rough thick glass, as
otherwise they would have been very dark. Furnished with a few garden chairs and
surrounded with the greenery clothing the pergola, they make very cosy shelters from
which to look out between the rough-built stone pillars of the pergola at the endless
succession of hill after hill and pleasant valley between.

Apart from these small contrivances, however, there is one portion of the grounds
expressly laid out to provide shelter. This is the small cloister-like enclosure to the

375

EXAMPLES OF GARDEN DESIGN.

FIG. 419. — THE NORTH LAWN AND PERGOLA, ROYNTON COTTAGE.

FIG. 42O. — INTERIOR VIEW OF ABOVE PERGOLA, SHOWING SHELTER.

376

EXAMPLES OF GARDEN DESIGN.

FIG. 421.— SUMMER-HOUSE ON TERRACE, ROYNTON COTTAGE. FIG. 422. — TOWER AND LOGGIA, ROYNTON COTTAGE.

FIG. 423. — SEAT COVERS AND AVIARY, ROYNTON COTTAGE. FIG. 424. — THE LONG STEPPED WALK, IROYNTON COTTAGE.

377

EXAMPLES OF GARDEN DESIGN.

Mountain East of the main part of the house, known as the Garth, and in the centre of which
Home. stands the dovecote shown in illustration No. 233. As will be seen from the plan, a

pergola runs all round it, which, however, had not become covered at the time when
the illustration just referred to was made. It is quite curious to see the delight of the
more discriminating of the hundreds of visitors who come to see these gardens, when, after
being shown all round the other portions of the grounds, they are suddenly introduced,
by the opening of a door in the back wall of a pergola, to this new feature, which
strikes exactly the note required to complete the composition, with its quiet air of
seclusion and shelter from bleak winds, its cooing doves, and the rippling reflections in
the little basin at the base of their cote to give a sense of brightness and freshness.

There are doves and pigeons everywhere, and their introduction was a very happy
thought, giving, as it does, a sense of life and habitation and fluttering movement to this
domain among the solitary fells. They will be seen in several of the illustrations, and two
of the smaller dovecotes, quaintly roofed square erections, are shown in the background
of illustration No. 424. In the accompanying photograph of the tower and loggia, which
punctuate the Northern extremity of the grounds, an arched opening with a screen
containing pigeon holes will be found in the centre of the photograph and another to
the extreme right, and as will be seen on reference to the plan, these form a part of
a long series of such openings which grace this enclosing wall and relieve its bare face
from monotony.

The planting of this garden was, of course, a special problem in itself, which could
only be solved by many experiments. Everyone interested expressed the decided opinion
that nothing whatever except the native heather would or could be got to grow by any
means whatsoever. However, such Job's comforters have been abundantly proved to be
wrong, and now considerably over one hundred and fifty thousand trees and shrubs have
been planted and are doing well, principally, of course, such things as pines and broad-
leaved hollies, while rock plants, among which the various saxifrages are conspicuous,
adorn the rough stonework in the walls, steps and pergolas. The hardiest climbing
roses have done surprisingly well, though, of course, the season is very late in these as
in other things, and, at the time the photograph of the summer-house in illustration
No. 421 was taken, a Dorothy Perkins rose was providing a most beautiful colour
contrast against the grey stone and roof and the purple heather, which made one feel
acutely the limitations of ordinary photography.

In several places, in forming the gardens, the native rock has been laid bare, and in
one case a little cave has been constructed in a very natural manner, while, at another
place, the presence of a tiny mountain rill has been taken advantage of to form a rocky
waterfall with a series of large pools below.

The way in which the exceptional nature of the site has been taken advantage of
to justify original treatments, which, though they would no doubt appear bizarre in other
cases, fall naturally into their place in their rugged surroundings, is forcibly shown in the
photograph of the bridge connecting the grounds with Rivington Park, which, as already
stated, has been given to the public by Sir William Lever.

This example shows, more clearly perhaps than any other, the necessity of adapting
the gardens to the conditions prevailing on the site, instead of commencing their design
and construction with preconceived ideas as to what is right and proper or what
should be included. The result could not have been so satisfactory both to the
Author and his Client had not each feature incorporated in the scheme been the
logical outcome of an endeavour to meet a felt need in the simplest and most efficient
manner, coupled with the endeavour to strike a homely local note by the use of
those materials abounding in the site and to employ them in the manner to which
their physical properties best fitted them.

378

EXAMPLES OF GARDEN DESIGN.

FIG. 425.— ENTRANCE LODGE, ROYNTON COTTAGE.

FIG. 426. — BRIDGE CONNECTING ROYNTON COTTAGE WITH PUBLIC PARK.

379

EXAMPLES OF GARDEN DESIGN

EXAMPLES OF GARDEN DESIGN.

A HILLSIDE GARDEN.

Wood Hall, Cockermouth, which we have taken as a typical example of a hillside
garden, is situated on one of the most romantic spots in Great Britain. Its beauty is
not, however, of that haphazard order which one usually associates with the word pic-
turesque. The view from the South front is fine and spacious, with a disposition of
watered vale and rolling woodland, of deep declivities, and a background of Lakeland
mountains, all rising from rich flat meadows and broken by the sinuous lines and silver
streaks of the river Derwent ; whilst away to the West are the romantic ruins of Cocker-
mouth Castle. No wonder that Turner loved the view from Wood Hall, and selected
it as the subject of one of his great pictures ; the prospects suggest the " Grand Man-
ner " loved by the doyens of English Landscape Painters.

A Hillside
Garden.

FIG. 428. — SUNDIAL BASTION AND PERGOLA, WOOD HALL, COCKERMOUTH.

Wood Hall is one of those domains which, as domains, have existed almost from
time immemorial, but unfortunately, as in so many other instances, that reverence for the
antique which is so universal in those who love a garden has little beyond tradition and
history to feed upon, as the last of the ancient monastic buildings disappeared long ago.

It is a far cry from the time when Waltheof, the first Lord of Allerdale, gave Wood
Hall, together with other property, to the Priory of Guisborough, and since then, on
the dissolution of the monasteries, Henry VIII. sold it to Henry Tolson, Gent., the
ancestor of a line which held it for many years, until it fell into the hands of the
Fisher family, who subsequently sold it to the present proprietor, Edward T. Tyson,
Esq., J.P.

The present mansion was commenced during the Fisher occupancy, and after having
been added to and altered more than once, was converted into the existing commodious

EXAMPLES OF GARDEN DESIGN.

FIG. 429. — CONNECTION BETWEEN HOUSE AND GARDEN, WOOD HALL, COCKERMOUTH.

FIG. 430. — CONNECTION BETWEEN FORMAL AND INFORMAL, WOOD HALL, COCKERMOUTH.

382

EXAMPLES OF GARDEN DESIGN.

country seat by the present owner, previous to laying out the grounds as shown on the
accompanying photographs.

Wood Hall occupies the slope on the North side of the valley, and has therefore
a full Southern exposure. Formerly the house was of much more modest dimensions,
but, following the English tradition, each succeeding owner has enlarged and re-modelled,
until to-day Wood Hall is a fairly representative specimen of an English country home.

The present owner had, with great taste and discretion, and under the supervision
of his Architect, the late Mr. Ferguson, of Carlisle, added a new entrance hall on the
South front, and the billiard-room shown in illustration No. 427. On the West, behind
the house and crowning the highest part of the grounds, are the old stables and farmery,
and behind the billiard-room sundry strips and plots of ground surrounded by walls at

A Hillside
Garden.

FIG. 431. — THE APPROACH TO WOOD HALL, COCKERMOUTH.

conflicting angles, rendering this view of the grounds and gardens very unsatisfactory,
and without any reasonable recompense in the shape of " cropping " ground.

No alterations have been made to the total area or outer boundaries. The long strip
forming the kept garden is almost equally divided into an upper and lower garden by
the drive, which enters the enclosure by a lodge entrance about one hundred feet West
of the area shown on the plan. The gardens, the levels of which may be judged by the
two sections (111. No. 427), stands almost in the centre of a beautifully undulated and
well-wooded park. Partly by accident and partly by definite planning, the trees
immediately round the gardens give great support to it, and not only secure that
dominant note of continuity which only well-grown timber can give, and which is typical
of the English domain, but, by their positions in relation to the principal view points
in the garden, and also from the windows of the house, add enormously to the value
of the vistas.

383

EXAMPLES OF GARDEN DESIGN.

384

EXAMPLES OF GARDEN DESIGN.

The first aim in the re-modelling of the gardens was to secure a sense of space, and A Hillside
also connecting lines which would secure some architectural connection between the house Garden.
and its setting. There was the further consideration that, as in most other hillside
gardens, there were few walks which ministered to one's comfort or leisure. In short, to
walk round the garden was an exertion.

The shape and contours and obliquities of line on this Estate are so unusual that
no very clear idea can be obtained from the plan of the great difficulties to be solved
before any degree of order could be evolved, but a comparison of the plan (111. No. 427),
with the photographs showing the improvements which have been effected, will make it
at once apparent that, notwithstanding the difficulties to be overcome, results combining
practical as well as aesthetic advantages have been attained. The level spaces immediately
round the house, but especially on the South and West fronts, have been considerably
expanded, and the line and gradients of the carriage drive improved. Then the terrace
on the South front has been extended, and a pergola constructed on the East side extending
from the carriage court to the park postern gate. This latter feature has secured a
balanced effect on what was previously the least satisfactory side of the site. Instead
of the narrow winding walks on the West side, good wide paths, some of them nagged,
have been constructed and, at one of the finest view-points, the garden-house shown in
illustration No. 433 has been erected. Another fine view-point has been taken advantage
of by the insertion of a three-arched alcove under the West end of the South wall of
the kitchen garden.

On a garden site like the one at Wood Hall there is a great opportunity for wall-
gardening, and this feature has been made the most of, the walls along the side of the
drive, pergola, and several of the walks being planted with a choice variety of Alpines
and other wall plants, whilst under the terrace and on the lower side of the drive a
large amount of rock from a local quarry has been added to supplement the several
outcrops on the site. In many cases these have a background of rhododendrons,
azaleas, and a choice variety of kalmias, andromedas, Alpine rhododendrons, and ericas.
In other parts there are backgrounds of choice Japanese maples interspersed with and
relieved by compact-growing conifers. The rock garden under the terrace is devoted to
Alpines, and in addition some of the better herbaceous plants have been added to give
mass and a connected effect.

As the garden in its present form is scarcely a year old, several of the views
lack the softening touch which age will bring, and, though the scheme is full of
promise, it is almost impossible so to illustrate it as to give the reader any idea
of the ultimate possibilities. The nature of the surrounding country has also to
be taken into consideration before one can form any adequate conception of the
scheme as a whole from the photographs. The exceptional nature of these has
already been hinted at, and the ancient castle, which adds so greatly to the interest
of the views, can be seen in the middle distance of illustration No. 431. The site
is on the edge of the English Lake District, and therefore is surrounded with country
which partakes very largely of the rugged picturesqueness which is its distinguishing
feature, and this has had its influence on the design adopted. In order that it
might harmonize with its surroundings, the architectural details were kept solid to a
degree which would, in a less rugged neighbourhood, have been heavy and perhaps
slightly cumbersome, but which here, when clothed with greenery, will fall naturally
into place, grace and lightness being obtained by the use of statuary at specially
selected points where it would mark the centre of a bastion or the termination of a
balustrade. The photographs can, however, be left to speak for themselves, and will,
together with the plan, give a very good idea of the scheme as a whole, and the variety
obtained within quite a small area.

385

EXAMPLES OF GARDEN DESIGN.

RUSHTDNHAli

NORTHAMPTONSHIRE

CW YjfcAm QiarJ&i

\ja/r/ens designed far
J -J 'VanA/Jan

FIG. 434.
386

EXAMPLES OF GARDEN DESIGN.

FIG- 435-
387

EXAMPLES OF GARDEN DESIGN.

An old
Tudor
Garden
restored.

AN OLD TUDOR GARDEN RESTORED, REMODELLED AND ENLARGED.

Of the many stately homes which adorn this county of great country seats, Rushton
Hall is one of the noblest, and, from the point of view of the antiquarian with an
appreciation for Architecture, certainly one of the most interesting and important, for it
still retains much evidence of the fine architectural style in which the great men of the
Tudor and Stuart periods built their homes, and in which they expressed so much of the
state and dignity surrounding their positions as peers of the realm.

That part of the house situated at the S.W. corner, now converted into a library,
probably dates from mediaeval times, the elevation facing West being built in rough broken
coursed rubble and having small lancet windows. Rushton Hall was, however1, best known
to architects for its wonderful Jacobean strapwork carried out with much imaginative skill
by the clever stoneworkers of that time. At a rather later date the old L shaped main
facade seen in the perspective view, was converted into a square large enough to enclose
the formal panel garden shown on the plan. The later work is much more restrained
in character than the earlier parts, and has added enormously to the collective effect
of Rushton, the connecting corridor and raised terrace between the South and West
wings introducing a feature which is most happily conceived, allowing not only a fine
perspective view of the house, but at the same time admitting the morning sun.

The present tenant, J. J. Van Allen, Esq., has carried out many alterations and
improvements, which, though destroying some of its ancient charm, have at the same
time modernised the house and made it more hygienically perfect.

When the Author first visited Rushton there was no suggestion to the eye in the
undulating lawns of a terraced garden immediately round the house, but that such gardens
had at one time existed was amply proved by the outlying portions, such as Dydens
Walk, the Wilderness, and the Kitchen Garden, and when the foundations were dug for
the new terraces, the old walls, with their beautiful balustrades, pillars and stone urns
were brought to light, and records preserved. These old walls were curiously enough
within a few feet of the lines adopted for the new ones, the levels of the terraces being
approximately the same. Their destruction was probably suggested by Capability Brown,
or one of his intimates, who at the same time formed the lake and the landscape garden
beyond, and who also planted the clump of trees in the park.

In destroying these gardens the object aimed at was to give a proper setting and
base to the mansion, and at the same time to weave the wilderness and later landscape
part into a well-connected and harmonious whole. This necessitated the large scheme
of terraces shown in the illustrations, and also the restoration of much, both in the old
formal scheme and the landscape gardens, which years of neglect had allowed to grow
out of recognition. The large lake covering many acres had silted up and become a
morass overgrown with willows and bogweeds, creating an unhealthy area partly covered
with shallow stagnant pools which under certain atmospheric conditions were offensive.
All this area had to be cleared out at great cost. This will give an opportunity for the
construction of the formal pond shown in the perspective view, which, at the time of
writing, has not been commenced. In the Park all the long vistas had been closed up
by trees of forty or fifty years' growth. These had to be cleared and other plantations
arranged to secure a continuity of effect. In the wilderness, the hedges by which the
different portions were surrounded had overgrown the glades, and in other parts had been
entirely removed. All that the Author attempted for these two sections of the scheme
was the restoration of the plan originally laid down.

Rushton thus provides an example of the all too numerous English gardens where
re-planning has become necessary through the ruin wrought by succeeding fashions in
garden design, and by the neglect of the two outstanding qualities of the English garden,
viz., restraint and high keeping.

388

INDICES.

INDEX TO ILLUSTRATIONS.
GENERAL INDEX.

INDEX TO ILLUSTRATIONS.

Fig. No.

ABOVEBECK, Grasmere, terraces at 113, "4

Acroliths 200, 203, 204

at the Palais Royal, Brussels 200

/Esculus hippocastanum 357

Alcove at Holker Hall 43

Alexandra, H.M. Queen, garden for 376

Alpine garden in the Lake District 265

Ancestral domain, gardens to 398, 399, 4°°

Ancient gateway at Farfield House 48

,, woodcut of Foots Cray Place 416

Anglevilliare, Paris. Plan of gardens 107

Antique Spanish gates

75,

Approach to Wood Hall, Cockermouth 431

Arbour, see Summer-houses.

Arched doorways in fruit walls 299, 300

Arches for roses 222, 295

in old walls 136, 137, 138

Artistic grouping of trees 346, 347, 348, 349

Ashridge Park, Berkhamsted, lawns at 149

Ashton-on-Ribble, gate with bells at 68

Ashton-on -Trent, canal 252

„ lily pond 251

Athelhampton Hall, plan of gardens 86

Avenue, double 85

Avenues, how to plant 83, 84, 85

radiating 321

Aviary, Foots Cray Place 417

Roynton Cottage 423

Azaleas at Villa Carlotta on Lake Como 354

BACK drive, junction with main drive 90

Baltimore, Argyll, gardens at 402, 403, 404

,, ,, rockwork at 261

Balustrade at Montacute 170

of wood in brick wall 112

Balustrades 118, 119

Bank, drainage of 151

Bastions, Wood Hall, Cockermouth 428, 429

Bathing ponds 253, 254

Bifurcated drive 87

Bird bath 243

Board irons for fruit walls 302, 303

Boathouse, Kearsney Court 235

Bog garden, Underley Hall 264

Bowling green, Foots Cray Place 106, 152, 153

Levens Hall 150

Boxes for Trees 223, 224, 225

Boy and fish fountain 237

Brassey, Lady, see Chelwood Gate.

Brathay Crags, Windermere 4, 5

Brick and cobble paving 162

and stone paving 159

coping 67

,, paved kitchen garden walk 304

,, paving 163

,, terrace walls 116, 117

Bridge at Graythwaite Hall 189

at Mount Stewart 188

,, Chatsworth 185

„ in Devonshire 187

Kearsney Court 236

,, old, at Lynmouth 186

,, Roynton Cottage 426

Brock enhurst, acrolith in the formal garden 204

Fig. No-
Broom, white 360

Broughton Castle, early Victoria flower gardening at ... 8

Brussels, The Palais Royal 200

Burying posts, correct method shown 213

CANAL at Ashton-on-Trent 252

at Foots Cray Place 258

at Kearsney Court 235, 236

at Palace of Peace 256

under construction 257

Capernwray Hall, carriage court at 45

Caps for posts 214

Carnation garden, Maddersfield Court 140

, , walk 139

Carnegie, Andrew, Esq., D.C.L., see Skibo.

Carriage Court at Chiswick House 46

Wood, Devonshire 22

Carriage Courts, 39, 40, 41, 42, 44, 45, 46, 47,

96, 97, 98, 99, too, 101

Cast iron bays in fence 53

Castanea vulgaris 356

Central feature in the kitchen garden, Thornton Manor 305

Channeling to drive 102

Chatsworth, the bridge 185

Chelwood Gate, pergola at 192

Chestnut, horse 357

Spanish 356

Chiswick House, carriage court at 46

Cisterns, lead 209, 210

Classic temple, Kew Gardens 178

Clematis and roses covering ugly walls 368

Clevehowe, Windermere, gardens at 401

Climber-covered walls 118, 370

Climbers at Wood, Devonshire 365, 366

,, too rampant 367

Clipped hedges, 327, 328, 329, 330, 331, 332, 333, 334, 336,

337, 338

Clipped trees 339, 340

,, ,, at Levens Hall 320, 336, 337

Cobble and brick paving 162

Cobbles, stones and slates, fence of 62

Coffer dam in canal under construction 257

Columns in gardens at Seville 202

Connection between carriage court and garden, Wood,

Devonshire 410

,, ,, formal and informal. Wood Hall,

Cockermouth 430

house and garden, Wood, Devonshire 411

,, ,, house and garden, Wood hall 429

pleasure grounds and Kitchen Garden,

Flagstaff, Colwyn Bay 297

Conservatory at The Hill, Hampstead 275

,, in West Park, Wolverhampton 274

,, screening unsightly back premises 277

Coping 63, 64, 65, 66, 67

,, for kitchen garden walls 302, 303

Corbels, Windermere, gardens at 379, 380, 381, 382

Cottage gardens, gates for 77, 78, 79, 80

Country house, typical designs for 10

Courtyards. See Carriage Courts.

Covered way at Greenwoods, Stock 193

,, between house and highway 27

Crazy paving, designs for 160

Cringlemire, Windermere, summer-house at 182

39°

INDEX TO ILLUSTRATIONS— continued.

Fig. No.

Croquet lawn, Dunchurch Lodge 397

Cupid statue IQ9

Cytisus Alba 36°

DALHAM Hall, near Newmarket, terrace at 175

Delphiniums 372

Design for pergola, Dunchurch Lodge IQO

Designs for gardens. See plans.

for flower gardens 133, 134, 135

for paved walks 159, 160, 161, 162, 163

Detached columns in gardens at Seville 202

residence, small, gardens to ... 379, 380, 381, 382

Donatello, fountain by 246

Doors for kitchen gardens 299, 300

Doorway, Roynton Cottage 424

Double avenue, how to plant 85

drives 91, 92, 94

Dovecotes, Roynton Cottage 233, 422

Drainage of grass bank, section showing 151

,, scheme for kitchen garden 298

Drivers, shelter for 43, 44

Drives, curves of 89

,, cut through solid rock 102

,, double 91, 92, 94

formal 87

gradients of 88

junction with service road 90

,, sections through 103, 104

Dunchurch Lodge, fruit room 314

gardens at, 392, 393, 394, 395, 396, 397

,, ,, gates at 29

,, ,, herbaceous borders at 371

,, ,, kitchen garden 295

lodges at 25

pergola at 190

Dunfermline Park, lodges at 21

Dutch sundial 206

EARLY Victorian flower garden, Broughton Castle 8

Effective placing of statuary 201

Elms stiffly planted 349

End of the glade, Lewiston Manor i, 148

Entrance with covered way 27

Entrances, see also Gates.

27, 28, 29, 30, 31, 33, 34, 35, 36, 38

at Wood, Devonshire 28, 31

planning of 93, 95

Espaliers for fruit, 295, 296, 307, 308, 309, 310, 311, 312,

313. 3M

Exedra 232

FARFIELD House, ancient gateway at 48

Faversham, fountain garden at Frontispiece.

gatepiers at 30

Fence of cobbles, stones and slates 62

of oak trellis 61

,, of oak wattles 59

of post and rail 56

of riven oak 58, 59, 60, 61

,, of slates and wire 49

,, of split larch 57

,, of wrought iron 50

,, for roses, The Grange, Wraysbury 55

,, for wild garden 56

rustic 57

,, with cast iron bays 53

,, with wooden bays 51, 52, 54

brick coping for 67

Fig. No.

Fences, of wood 55, 56, 57, 58, 59, 60, 61

,, stone coping lor 63, 64, 65, 66

Fencing, unclimbable, and hedges 335

Finials for posts 214

Flagstaff, Colwyn Bay. Planting plans 351, 352

,, ,, ,, Connection between kitchen gar-
den and pleasure grounds ... 297

,, ,, ,, Lodges at 24

Range of glass at 293

Flat gardens, Levens 3

Florence, fountain at 246

Flower gardens, designs for 133, 134, 135

Foots Cray Place, bowling green 152, 153

canal 258

,, ,, fruit garden 296, 310, 311

gardens at 414, 415, 416, 417

gate at 76

,, ,, ,, reserve garden 142

,, ,, ,, rose screen at 222

,, ,, ,, the bowling green 106

,, ,, ,, the glade 156

,, ,, ,, the wild garden 273

Formal canals, see Canals.

drive 87

garden, Brockenhurst 204

,, gardens, Foots Cray Place 414, 415

„ gardens, Rushton Hall 435

Fountain in kitchen garden, Thornton Manor 305

,, Lees Court Frontispiece & 241

,, Lewiston Manor 238

Rome 239

statuary 237, 250

Fountains 237, 238, 239, 241, 242, 243, 244, 245

wall 246, 247, 249, 252

French fruit espaliers 310, 311

,, ,, garden, Foots Cray Place 296

Fruit espaliers ... 295, 296, 307, 308, 309, 310, 311, 312, 313, 314

Fruit garden, Foots Cray Place 296, 310, 311

,, room 314, 315, 316, 317

room, Dunchurch Lodge 314

., room, thatched 317

room, underground 315, 316

wall doors 299, 300

wall, section through 301

,, walls, board irons for 302, 303

GARDEN pavilions. See Summer-houses.

,, entrance, Wood, Devonshire 411

in granite 409, 410, 411, 412, 413

seats 226, 227, 228, 229, 230, 231, 232

tubs 223, 224, 225

vases 208, 2ii. 212

,, walls 105

Gardeners' lodges. See Lodges and Gatehouses.
Gardens, designs for. See Plans.

at Baltimore, Argyll 402, 403, 404

,, at Clevehowe, Windermere 401

at Dunchurch Lodge, Rugby, 392, 393, 394,

395, 396, 397

at Foots Cray Place 414, 415, 416, 417

at Graythwaite Hall 398, 399, 400

at Hill, Hampstead 387, 388, 389, 390 391

at Little Onn Hall, Staffordshire, 405, 406,

407, 408

,, at Maesruddud, plan of 13

at Roynton Cottage, 418, 419, 420, 421, 422,

423, 424, 425, 426

,, at Warren House 146

at Wood, Devonshire 409, 410, 411, 412, 413

391

INDEX TO ILLUSTRATIONS— continued.

435

127
400

417
386

Fig. No.

Gardens at Wood Hall... 427, 428, 429, 430, 431, 432, 433

,, for larger detached residence 383, 384

Lees Court 13°

on a flat site 405, 406, 407, 408

Rushton Hall, Northamptonshire 434,

,, The Grange, Wraysbury

,, to ancestral domain 398, 399,

,, to classic renaissance mansion, 414, 415, 416,

„ to good-sized suburban residence 385,

,, to semi-detached houses 378

Gate arbour 71

,, piers. See Gates.

„ piers at Villa Carlotta 16

,, with bells, Ashton-on-Ribble 68

,, wrought iron 5°

Gatehouse for a garden 71

Roynton Cottage 425

Thornton Manor 81, 82

,, Wood, Devonshire 22

Gates 29, 30, 31, 32, 33, 34, 35, 36, 43, 216

,, at Montacute 170

,, for cottage gardens 77, 78, 79, 80

,, in wood and iron combined 34, 35

,, lych-gate 61

,, opposite end of street 38

,, postern 72, 73, 75, 77, 78, 79, 80

,, simple, wooden 69

,, wrought iron 70, 75, 76

,, at Graythwaite Hall 400

,, ,, ,, Dunchurch Lodge 395

Gateway at Farfield House 48

„ at Skibo Castle 74

Gateways, setting out of 36

Giant parsnip under trees 373

Glade, end of Lewiston Manor 184

„ Lewiston Manor I

Glades cut through woodlands 155, 156, 157

Glasshouse for an amateur 294

staging 288

Glasshouses at Lewiston Manor 281

,, ranges of, 279, 280, 281, 289, 290, 291, 292,

293, 294

„ sections through, 282, 283, 284, 285, 286, 287

Holehird, Windermere 289

,, Wych Cross 280

Golden Irish Yews 341

Grading undulating ground, section showing 154

Grange, Wraysbury, kitchen garden at 304

,, ,, paved garden at 129

paving at 163

,, ,, plan of grounds 127

postern gate at 72

,, ,, rose festoons at 55

Granite bridge in Devonshire 187

,, wall fountain in 247, 249

Grass bank and wall compared m

,, showing drainage 151

,, walk at Lacies, Abingdon 141

walks 141,155,156, 157

,, walks, stone edging to 158

Graythwaite Hall, bridge at 189

,, gardens for 398, 399, 400

,, new drive and carriage court at ... 41

,, ,, perspective view of grounds 398

sundial at

234

Greenwoods, Stock, covered way at 193

Group of nine elms 349

Grouping of house and outbuildings n

Groves of small trees 322, 323, 324

Fig. No.

HADDON Hall 2

Hague. See Palace of Peace.
Halsey, Mrs. See Lees Court.

Hannaford, wall fountain at 249

Hedge and unclimbable fencing 335

on cop, section through 338

,, opening in, marked by acroliths 203

Hedges, clipped, 327, 328, 329, 330, 331, 332, 333, 334, 336,

337. 338

Heracleum giganteum 373

Herbaceous borders 374

at Dunchurch Lodge 371

,. ,, correct way of placing 143, 145

wrong placing of 144

Hill, Hampstead, conservatory at 275

London 387, 388, 389, 390, 391

,, ,, trellis screen at 195

,, verandah at 171, 172

Hillside garden, Haddon Hall 2

Holehird, Windermere, glasshouses at 289

Holker Hall, shelters in carriage court 43, 44

Hollies and snowy mespilus 359

Horse chestnut 357

House and administrative buildings grouped for composite

effect n

Hvidore, garden for H.M. Queen Alexandra 376

Hvde Park, London, trees in 348

INTERIOR of pergola, Roynton Cottage 420

Irish Yew, golden 341

Iron and wood espaliers 307, 313

,, espaliers 308, 309, 312

„ lattice 313

Italian gatepiers 16

JUNCTIONS of paths 167, 168

KEARSNEY Court, boathouse at 235

,, ,, canal and bridges 235, 236

„ „ terrace walls at 112, 116

Keffolds, Windermere, terrace at 117

Kew Gardens, lake 259

,, ,, temple of the sun 178

Kitchen garden and pleasure grounds, how to connect 297

„ ,, doors 299, 300

drainage scheme for 298

,, Dunchurch Lodge 295

„ ,, paths, edgings for 306

plan of 279, 318, 319

semi-circular 318

,, ,, Thornton Manor 305, 319

walls, coping for 302, 303

Wych Cross 280, 298

,, ,, walk, brick paved 304

,, ,, walls, board irons for 302, 303

,, ,, walls, section through 301

Kraal, Berkhamsted, gardens at 385, 386

LACIES, Abingdon, grass walk at 141

Ladies' garden, Levens Hall 336, 337

Laidlaw, Sir Robert, see Warren House,

Lake at Wood, Devonshire 343

,, Como, gatepiers on 16

District garden 401

„ rock garden in 265

Kew Gardens 259

392

INDEX TO ILLUSTRATIONS— continued.

Fig. No.

Lake, Wolverhampton Park 260

Larch fence 57

Lattice of iron 3*3

Lavender under the casement 374

Lawns at Ashbridge Park, Berkhamsted 149

Lead cisterns 209, 210

Lean-to houses, sections through 282, 283

Lees Court, Faversham, before alteration 148

fountain at 241

,, ,, ,, gardens at 130

gate piers at 30

M ,. placing of flower beds at 128

terraced effect at 128

Level site, gardens for 15

Levens Hall, bowling green 150

,, clipped trees at 320, 336, 337

,, gardens 3

,, ladies' garden 336, 337

Lever, Sir William, see Thornton Manor.
,, ,, I. Roynton.

., Hill, Hampstead.

Lewiston Manor, end of glade i, 184

fountain at 238

,, ,, glasshouse at 281

planting at 342

,, the glade 155, 157

Lily pond at Ashton-on -Trent 251

at Hill, Hampstead 388, 389

at Wych Cross Place 240

,, ,, showing sizes 248

statue for 250

Lime Walk, Trinity College, Oxford 325, 326

Little Onn Hall, gardens at 405, 406, 407, 408

gates at 32, 33

,, ,, ,, planting plan at 350

Lodge, Roynton Cottage 425

Thornton Manor 81, 82

Lodges, 17, 18, 19, 21, 22, 23, 24, 25, 26

„ one-storied 17, 18, 19, 24

renaissance 17

Loggia and tower, Roynton Cottage 422

Loggias on terrace to neo-classic house 174

Long-stepped walk, Roynton Cottage 424

London, trees in Hyde Park 348

London's " Suburban Gardener," illustration from 321

Lych gate 61

Lynmouth, old ragstone bridge 186

MADRESFIELD Court, carnation garden 140

Maesruddud, lodges at 23

Magnolia conspicua soulangiana 369

Marie of Padilloa, gardens of, at Seville 202

Mentmore, renaissance gardens at 7

Method of burying posts 213

Mistaken placing of flower beds, Lees Court, Faversham 148

Montacute, summer-house at 170

Mount Stewart, bridge at 188

,, ,, rockwork at 262

woodland walks at 169

Mountain Home ... 418, 419, 420, 421, 422, 423, 424, 425, 426

NATURE'S triumph over stiff arrangement of trees ... 349

Newton Green Hall, rose garden at 131, 132

Noble architecture obscured by too rampant climbers ... 367

North Garden, Wood, Devonshire 413

North lawn and pergola, Roynton Cottage 419

OAK fencing 58, 59, 60, 61

,, trellis fence 61

Fig. No.

OAK wattles fencing 59

Oaks, groups of 346, 347

Old Walls, openings in 136, 137, 138

One-storied lodges 17, 18, 19, 24

Open-air dining room 276

swimming baths 253, 254

Openings in old walls 136, 137, 138

Orangery 276

Oxford, Lime Walk, Trinity College 325, 326

PALACE of Peace, canal at 256

,, ,, ,, seat at 232

Palais Royal, Brussels 200

Panel garden, Ballimore, Argyll 403

Little Onn Hall 407, 408

designs for 135

Park plantations, Little Onn Hall 350

Paved garden, The Grange, Wraysbury 129

Paved walks 159, 160, 161, 162, 163

Pavilions, garden. See Summer-houses.

Peace Palace, The Hague. See Palace of Peace.

Peach-house, section through 283

Pergola at Chelwood Gate 192

,, at Newton Green Hall 131, 132

at The Hill, Hampstead 388, 389, 390

,, at Wych Cross 191

,, Dunchurch Lodge 190

,, of brick and wood 190

,, of larch poles 194

,, of rough masonry 191

,, of wood 192

,, Roynton Cottage 419, 420, 423

Wood Hall, Cockermouth 428, 432

Pittencrief Park, lodges at 21

Placing of herbaceous borders 143, 144, 145

Plan of canal at The Palace of Peace 257

,, ,, gardens, Anglevilliare 107

,, ,, „ Athelhampton Hall 86

,, ,, ,, Ballimore, Argyll 402

Buckinghamshire 15

Clevehowe, Windermere 401

,, ,, ,, Dunchurch Lodge 392

„ „ ;, Flagstaff Hill, Colwyn Bay 14

,, ,, ,, Foots Cray Place 414

,, ,, Hill, Hampstead 387

Kraal, Berkhamsted 385

,, ,, ,, Lees Court 130

,, ,, ,, Maesruddud 13

Little Onn Hall 405

,, ,, ,, Roynton Cottage 418

,, ,, Rushton Hall 434

,. ,, ,, Shrublands, Windermere 383

The Grange, Wraysbury 127

,, „ ,, to semi-detached houses 377

to small detached residence 382

,, ., Warren House 146

M ,, ,, Wood, Devonshire 409

„ ,, ,, Wood Hall, Cockermouth 427

,, ,, glade, Lewiston Manor 157

,, ,, lily pond 248

,, ,, rose garden, Newton Green Hall 147

,, showing grouping of house and out-buildings n

Plane trees in Hyde Park, London 348

Plans of groves of small trees 322, 323

„ of kitchen gardens 270, 318, 319

,, of ranges of glass 279, 290, 291, 292

Plantations in Park, Little Onn Hall 35°

Planting at Lewiston Manor 342

at Wood, Devonshire 343

393

INDEX TO ILLUSTRATIONS— continued.

Fig. No.

Planting at Villa Carlotta 354

groups of 346, 347, 348, 349

,, how to form surface of beds for 353

on Brathay Craggs, Windermere 4, 5

,, plan, Little Onn Hall 350

„ ,, Flagstaff, Colwyn Bay 351, 352

„ suitable 344

,, unsuitable 345

Pleasure grounds and kitchen garden, how to connect ... 297

Ponds for bathing 253, 254

„ for lilies, See Lily Ponds.

Poplars, rightly placed 344

wrongly placed 345

Post and rail fence 56

Posts, finials for 214

,, how to bury 213

Postern gates 72, 73, 75, 77, 78, 79, 80

QUALITIES of foliage

(light and shade) 364

(mass) 363

(silhouette) 362

(vertical line) 361

ROYNTON Cottage, gardens at, 418, 419, 420, 421, 422,

423, 424, 425,
Rugby, Dunchurch Lodge. See Dunchurch Lodge.

Rushton Hall, gardens at 434,

Rustic bathing pond

„ fence

„ pergola

steps 266,

Radiating avenues

Ragstone Bridge at Lynmouth

Railings, wrought iron

Ranges of glasshouses, 279, 280, 281, 289, 290, 291, 292,

293,

Renaissance Garden at Mentmore

„ lodges

Reserve garden, Foots Cray Place

Riven oak fencing 58, 59, 60,

Rivington. See Roynton Cottage.

Rock garden in the Lake District

„ „ stepping stones in

,, Underley Hall

Rock plants, accommodation for, in mixed borders

Rockwork, Ballimore 261

,, Mount Stewart

Rome, fountain at

Rose arch and trellis screen for H.M. Queen Alexandra

arches

220, 221, 222,

festoons at The Grange, Wraysbury

Rose Garden, Little Onn Hall 407,

Newton Green Hall 131,

,, ,, Newton Green Hall, plan of

,, ,, Dunchurch Lodge, Rugby 393,

,, temple, Dunchurch Lodge

Roses and clematis covering ugly walls

Roynton Cottage, Dovecote at

426

435
253
57
194
268
321
1 86

5°

294
7

17
142

265
269

363
270
404
262
239
376
295
55
408
132
147
394
190
368
233

SCOTCH fir and silver birch, Winter effect 358

Scotch firs on Brathay Crags, Windermere 4, 5

Screen of rose arches 222

Screens of trellis 215, 216, 217, 218, 219

Seat curved Iog

Seats 226, 227, 228, 229, 230, 231, 232

Section through clipped hedges 329, 330, 331, 332

(lrives IO3_ IO4

fruit wall 3OI

Section through glasshouses 282, 283, 284, 285, 286,

grounds, Little Onn Hall

hedge and herbaceous border 333,

, , , , hedge on cop

paths 164, 165,

, , , , steps

stone edging for paths

,, ,, terraces

,, typical site

valley, showing grading

,, ,, wall for rock plants 271,

,, ,, ,, garden

Sections showing terrace wall and grass bank

,, ,, construction of ponds

,, ,, drainage of grass banks

Semi-circular kitchen garden

Service road, junction of, with drive

Seville, gardens of Marie of Padilloa

Shelters in carriage courts 45,

,, Roynton Cottage 420,

Shepherd and Shepherdess statues 196,

Shrublands, Windermere, gardens at 383,

,, ,, postern gate at

terraces at

Silver birch and Scotch fir. Winter effect

Skibo Castle, gateway at

Slate rock, Alpine garden on

Small detached residence, gardens for 379, 380, 381,

Snowy mespilus against a background of hollies

Soil beds, how to form surface of

Sondes, Earl. See Lees Court.

Span-roofed glasshouses, sections through 285, 286,

Spanish Chestnut

,, gates, antique 75,

Sparrow bath

Split larch fence

Spreading steps 120, 121, 122, 123,

Staging for glasshouses

Stepping stones in a rock garden

Stone edging for paths, section through

Statuary 195, ig6, 197, 198, 199, 201,

Steps 120, 121, 122, 123, 124, 125,

,, sections through

Stirling, lodge at

Stone and brick paving

coping 63, 64, 65,

edging to grass walk

, , seat

Stream with rock walk, Ballimore, Argyll

Suburban residence, gardens for 385,

Summer-house and gate combined

at end of terrace

,, Cringlemire, Windermere

Foots Cray Place

,, Montacute

,, in same style as mansion 177, 179,

,, Roynton Cottage

with Loggia

,, Wood, Devonshire 412,

Wood hall, Cockermouth

Summer-houses 175, 176, 177, 178, 179, 180,

181, 182, 183,

Sundial Court, Dunchurch Lodge

Sundial, Wood hall, Cockermouth

Sundials 205, 206, 207,

Support for glasshouse staging

Surface of soil bed, how to finish

Survey and design for country house and garden

Swamp garden. See Bog Garden.

Swimming Baths 253,

287

406

334
338
1 66

H5
306

1 08

12
*54

2/2
267
112
255

90
202

44
423
197

384

268

358

74
265
382
359
353

287

35<5
76

243
57
124
288
269
306
204
126

115
26

159
66

159
232
404
386

71
176
182

152

170
1 80
421
183
413
433

184

395
428

234
288

353

254

394

INDEX TO ILLUSTRATIONS— continued.

Fig. No.

TANKS, lead 209, 210

Tea-house at end of glade, Wood, Devonshire 412

Foots Cray Place 152

Temples, garden. See Summer-houses.

Terra-cotta vase 208

Terrace steps 120, 121, 122, 123, 124, 125, 126

Terrace walls 118, 119

covered with climbers 112, 370

in brick 116, 117

Terraced effect at Lees Court, Faversham 128

,, on a steep hillside no

Terraces. Abovebeck, Grasmere 113, 114

Dalham Hall, near Newmarket 175

Dunchurch Lodge 396

Foots Cray Place 415

The Hill, Hampstead 390, 391

Rushton Hall 435

section through 108

,, Wrightwick Manor 6

Thatched fruit room 317

Thornton Manor, canal at 257

gatehouse at 81, 82

kitchen garden at 305, 319

,, ,, kitchen garden door at 300

Three-quarter span glasshouses, sections through 284

Tile paving, designs for 161

Topiary at Levens Hall 3

Tower and loggia, Roynton Cottage 422

Treatment of old walls 136, 137, 138

Trees, groups of 346, 347, 348, 349

,, how to plant in avenues 83, 84, 85

,, in tubs 223, 224, 225

Treillage at The Hill, Hampstead 195

Trellis 215, 216, 217, 218, 219

,, screen and rose arches for H.M. Queen Alexandra 376

,, ,, at The Hill, Hampstead 195

Trinity College, Oxford, lime walk at 325, 326

Tubs for trees 223, 224, 225

Typical site, designs for 10

sections through 12

UGLY walls covered with roses and clematis 368

Unclimbable fencing and hedge 335

Underground fruit room 315, 316

Underley Hall, bog garden 264

,, rock garden 263

Undulating ground, sections shewing treatment 154

Unsightly back premises, how to screen 277

VASE of terra-cotta 208

Vases 208, 211, 212

,, of lead 211, 212

Verandah at The Hill, Hampstead 171, 172

to neo-classic house 173

Verrocchio, fountain by 246

Vertical sundial 234

Victorian gardening, Broughton Castle 8

Villa Carlotta, azaleas at 354

gate piers at 16

,, Garden at Whitehill, Berkhamsted 355

,, ,, at Windermere 377

Vineries, sections through 282, 284

Vistas, formation of, in old gardens 137, 138

,, through coppice wood 155, 156, 157

Fig. No.

WALK paved with bricks 304

,, with carnation beds 139

Walks at Mount Stewart 169

junctions of 167, 168

,, paved 159, 160, 161, 162, 163

sections through 164, 165, 166

sections through, edgings for 306

turfed 155, 156, 157

woodland, at Mount Stewart 262

Wall and grass bank compared m

,, fountain at Hannaford 249

,, fountains 246, 247, 249, 252

,, garden at Wood 266

,, gardens, sketch showing construction 267, 271, 272

Walls. See Fences.

Walmer Place, gate at 75

Warren House, Hayes, Kent, gardens at 146

Water lily ponds. See Lily Ponds.

White broom 360

Whitehill, Berkhamsted, villa garden at 355

Wild garden, Foots Cray Place 273

" Willows," Ashton-on-Ribble, garden at 105

,, ,, ,, gate with bells 68

Windermere, planting on Brathay Crags 4, 5

Wing walls, shapes of 37

Winter effect of Scotch fir and silver birch 358

Wolverhampton, conservatory in West Park 274

,, East Park 260

Wood and iron espaliers 307, 313

,, stone fence 51, 52, 54

Wood, Devonshire, bridge at 187

carriage court at 22

,, ,, climbers at 365, 366

,, ,, entrances at 28, 31

,, ,, gardens at 409, 410, 411, 412, 413

,, ,, planting at 343

,, ,, wall fountain at 247

wall garden at 266

Wood Hall, Cockermouth, garden at, 427, 428, 429, 430,

43i, 432, 433

Wooden balustrade to brick wall 112

,, bridge at Graythwaite Hall 189

fences 55, 56, 57, 58, 59, 60, 61

gates 69

seats 226, 227, 228, 229, 230, 231

Woodland glades 155, 156, 157

,, walks, Mount Stewart 169, 262

Wraysbury, The Grange, rose festoons at 55

Wrightwick Manor 6

Wrought iron gates 70, 75, 76

,, ,, Dunchurch Lodge 395

,, ,, ,, Graythwaite Hall 400

,, ,, railings 50

Wych Cross, climber-covered terrace walls 370

,, ,, distant view of 9

,, ,, glasshouses at 280

,, kitchen garden at 280, 298

,, „ pergola at 191

lily pond 240

YEWS, clipped 339, 340

Young oaks, grouping of 347

Yulan growing over a house 369

395

GENERAL INDEX.

Page

ABEKDEENSHIRE, walling in 61

Accessibility and the motor-car 25

Acroliths *56

,, at Palais Royal, Brussels 159

.^Esthetic considerations in drive planning 75

possibilities of hedges 255

of the kitchen garden 233

„ purpose of terraces 87

„ value of carriage drives 69

Aids to choice of material for planting 266

Alleys of yew 255

Alpine gardens 208

,, ,, construction of 209

Altitude of site 23

Amateur's glasshouse 230

American kitchen garden 244

Ancestral domain, gardens to 349

Ancient dovecotes 17°

Applied sculpture 15°

Approach to carriage court 80

Aquatic plants, lists of 325

„ ,, ponds for 187

for fountains 183, 186

Arbours 141

Arches for roses 166

Architects, domestic. (See Domestic architects).

Architecture and open lawns 118

,, of house and terrace to harmonise 94

Arrangement of herbaceous plants 109

,, of plants in the rock garden 211

,, of trees, Downing on 276

,, ,, ,, in avenues 72

,, ,, ,, Marnock on 276

Art and the garden 19

Artificial rockwork 197, 201

at Baltimore, Argyll 359

,, ,, objections to 203

,, undulations 125

Ashton-on-Ribble, gate at 64

Ashton-on-Trent, small canal at 192

Aspect of the kitchen garden 234

„ of tennis lawns 123

Asphalt walks 132

Athelhampton Hall, drive at 70, 73

Author's garden, design for 331

Avenues 69, 71

„ at Chelsea Hospital 72

,, contours of 71

double 72

„ green 251

„ pleached 73

pollarded 72

radiating 251

,, Repton on 71

,, trees for 72

Aviaries 248

Balustrades 61 ,

Banks and sides of drives

grass. See Grass banks.

Basins for fountains

Bathing facilities

ponds

Battersea Park, lake at

Beauchamp, Earl, gardens for

Beckett, garden pavilion at

Beds. See Flower beds.

for fruit trees, how to make

for glasshouses

Belcher, Mr., on trellis

Berkhamsted, gardens at

Bird-baths

Blank walls in conservatories

Blickling Hall, carriage court at

,, ,, terraces at

Board irons for fruit walls

Boat houses 149,

Bog gardens

,, ,, list of plants for

Boilers for greenhouses

Borde, Dr. Andrew

Borders. See Flower beds.

,, for fruit trees

herbaceous, the placing of

,, to paths

Bothy, placing of

Bower walks

Bowers of roses

Bowling greens

Box, clipped

Bracken

Breadth of walks

Brick and tile coping

,, paving

steps

walls

Brickwork for glasshouses

Bridge at Baltimore, Argyll

,, ,, Chatsworth

,, Graythwaite Hall

,, Kearsney Court

,, ,, Mount Stewart

,, Wilton

,, Wood, Devonshire

Bridges

BADMINTON 5

triple avenue at 251

Balanced effect, how obtained 141

Baltimore, Argyll, bridge at I4y

description of grounds 357

„ ,, stream at 197

Baltimore, U.S.A., lodges at 41

of iron

,, of stone

of wood

over public ways

palladian

,, rustic

superstructures to

Broad Oaks, Accrington, drive to

Brown and his followers, Loudon on

„ ,, ,, ,, Price on

Brown, "Capability" 6,

and scale in planting

Brussels, Palais Royal

Buckinghamshire, gardens in

Burying oak posts

Business promises, how arranged in relation to garden ...
Bute, Marquis of. See Mount Stewart.

Page
94
84

182

!?!

188

195
in

238
226
164

336

182

218

238

171

204

325

221

238
114

134

246

255
1 66
123
260
127
130
61

131

100
61
224
M7
147
148
148
148

147

147
H5
147
H7
148
149

T47
148

148

268

159

if>3

334

396

GENERAL INDEX— continued.

Page

CANAL at Ashton-on-Trent 192

,, water levels of 192

Canals, construction of 192

formal 19°

"'Capability Brown" 6, 16

,, „ and scale in planting 268

Carnation gardens m

walks 112

Carnegie, Andrew, Esq., gate for 64

Carriage Court at Dunchurch Lodge 347

double approach to 81

to classical mansion 80

,, ,, ,, irregularly shaped building 80

,, "L" shaped building 80

,, ,, Wood, Devonshire 80

Carriage courts 48

,, and entrances 37

,, ,, double 49

,, junction with drives 80

Carriage drives. See Drives 69

Cascades 187

Catchpits for drives 83

Caves 206

Cement walks 132

Centralization in planning 29

Chalk as a material for drives 82

Channels for drives 83

Chatsworth, bridge at 147

Chelsea Hospital, avenues at 72

Children, particular usefulness of summer-house for 144

Choice of a site 23

,, ,, material for planting 266

Cisterns, lead 161

Classic architecture and lawns 122

architecture and planting 268

„ buildings, verandahs to 40

mansion, carriage court for 80

,, renaissance mansion, gardens to 368

Clevehowe, Windermere, gardens at 354

Climbers 305

Climbing plants, how to build wall garden for 207

Clipped trees 259

Clipping hedges 256

Clothes lines, more aesthetic substitutes for 333

Cobble paving 83

Colour effects in paving 101

Columns detached 159

Colwyn Bay, gardens at 34

,, lodges at 41

Compactness in planning 33, 43

Compost ground 245

Conifers, hardy, list of 288

Connection of carriage drive with walks 134

,, ,, formal and informal walks 133

Conservatories 215

,, blank walls in 218

„ examples, various sizes 217

,, grotto-work in 218

,, paving for 218

Construction of kitchen garden 236

„ ,, steps 100

Continuity of effort 19

Contours of avenues 71

,, ,, informal lawns 125

Co-operation between domestic and landscape architects 16

Compost grounds 227

Coping for kitchen garden walls 238

„ various forms of 61

Cops of earth for hedges 259

Corbels, Windermere, designs for gardens 331

Page

Cost of garden upkeep 29

,, „ terrace walls 92

Country seat, gardens to 3^3

Courtyards 48

Covered ways 152

Crazy paving 132. 207

Croquet 104, 123

Cross-fall on terraces 91

Cross levels of drives 84

Crowning drives 83

Cul3-de-sac 1^3

Curbs for fountain basins 183

Curved drives and privacy 77

practical planning of 75

„ walks, when to use 355

,, wing walls, method of designing 48

Curves in plan and in perspective 77

,, method of visualising 48

DALHAM Hall, garden-houses at 141

Dark arbour at Melbourne Hall 255

Dartmoor, a garden near 363

Deception, legitimate and illegitimate in the garden ... 204

Decorative treatment of water 175

Deciduous shrubs, list of 291

Deeside, walling on the 61

Definition of landscape architecture 15

Design of glasshouses 221

of trellis screens 164

,, of yew hedges 255

Designing drives 71

Detached columns 159

Devonshire, a garden in 363

Different classes of drives 71

Dipping wells 186

,, ,, in kitchen gardens 241

Disposition of plantations 269

Distinction between rock and wall gardens 208

Domestic and landscape architects, co-operation between

16, 27

,, architects and garden design 18

Doors, garden 64

Doorways for kitchen gardens 237

Double approach to carriage court 8t

,, avenues 72

,, drives 78

lodges 39

Dovecotes 1 70, 3 78

Downing on arrangement of trees 276

Drain pipes, substitutes for 128

Drainage of grass banks 123

,, ,, kitchen gardens 235

,, ,, lawns 128

Drains, how to lay 128

Drive, advantage of dispensing with, in small garden ... 331

at Athelhampton Hall 70, 73

at Broad Oaks, Accrington 78

,, for Arthur Roberts, Esq 70

to town residence 78

Drives 31, 69

,, aesthetic value of 69

banks at sides of 84

catchpits for 83

,, channels for 83

connections with walks
constructed of chalk ..

cross levels of

crowning

curved

134

curved, and privacy 77

397

GENERAL INDEX— continued.

Page

Drives, different classes of 71

double 78

,, early Victorian 7°

formal, loss of perspective on 74

,, gradients of 7^

,, grouting for 82

,, importance of scale in designing 71

„ informal 74

,, junctions of 77

,, junction with carriage court 80

,, materials for 81

on peaty sub-soils 82

pitching for 81

,, rolling 82

,, sections for 7°

„ sub-surface, material for 82

„ symmetrically planned 73

,, „ ,, lodges for 74

„ through exceptional scenery 70

,, unnecessarily long 7°

„ widths of 84

Dunchurch Lodge, description of grounds 343

entrance lodges at 41

,, fruit room at 244

,, gates at 46

,, ,, kitchen garden at 240

Dutch gardens in England 5

Dwarf topiary 262

EARLY Victorian and Georgian planting 265

„ „ drives 70

East Coast, gardens on 23

Earth cops for hedges 259

Edgings for grass glades 128

,, kitchen garden walks 240

,, paths 134

Effort, continuity of 19

Eighteenth century gardening 6

Elaborate water-works out of place in English gardens 176

Engineers and landscape architects methods contrasted 75

England, history of gardening in 3

English gardens in foreign countries 121

Entrance and first impressions 37

,, ,, lodges, arrangement of 39

,, drives 31

Entrance gates, large 62

lodges 37

Entrances and carriage courts 37

„ and provision for motor-cars 79

,, oblique 79

,, safety of 79

„ scale of 37

„ wing walls to 47

Espaliers at Foots Cray Place 243

Espaliers for fruit 241

„ Wood, Devonshire 243

Evelyn on fountains 185

Evergreen shrubs, list of 291

Examples of conservatories of various sizes 217

,, garden design 329

,, ,, kitchen gardens 244

,, ,, terraces qo

Exceptional sites 3.

Expanding lattice I05

Extent of garden 30

,, ,, kitchen garden 234

FARFIELD house near Bolton^ Abbe^y 43

Farmsteads converted into country seats m

Farnelli, fountains by, at Hampton Court 185

Page

Fashion and taste contrasted 19

Fashions in garden design, ruin wrought by 388

Fences 55

,, destruction of, condemned 56

,, local character in 57

,, wrought iron 62

Fencing in park plantations 275

Fencing, lattice 59

for wild garden 58

of oak cord-wood 58

,, of peeled larch 58

of riven oak 59

,, of strained wire 57

unclimbable 57, 257

Fernery 212

Filbert walks 262

Finials 161

First impressions gained from entrance 37

Fittings of summer-houses 144

Flagged paving 13*

Flagstaff, Colwyn Bay, gardens at 34

,, ,, ,, glasshouses at 230

kitchen garden at 234

Flower beds 107

in formal and informal schemes 10*

on the terrace 101

,, size and shape of 108, 109

gardens 107

,, ,, mistaken use of 118

Flowering shrubs, list of 291

Fog, sites free from 23

Foots Cray Place, bowling green at 123

,, „ description of grounds 368

„ espaliers at 243

Forcing houses, heating of — 221

Forest trees, small groups of 270

Form and shape of flower beds 101

Formal and informal lawns •.... 22

and informal walks, connection of 135

and natural styles contrasted 9

,, avenues 71

,, canals 190;

drives, loss of perspective in 74

hedges 255

Fountain basins 182

kerbs for 183

,, ,, oval — 183;

statuary 177

tazzae 182

Fountains 176,

Fountains, aquatic plants for 183, 186;

,, at Hampton Court 185,

,, examples of i8.ii

,, in exposed positions 177

,, overflow for 184,

„ plumber's work for 183

„ small, as bird baths 182

„ statuary for 156

„ wall 184

,, water lilies for i8&

„ water supply for 183, 185

Frame grounds 226, 245

„ ground, Wych Cross 24?5

Frames and pits 22fr

Freeman, G. M., Esq., gardens for 104, 131

French fruit gardens 244

French treillage 167

Fruit borders, how to make 238

espaliers 241

gardens, French 244

39«

GENERAL INDEX— continued.

Page

Fruit-houses 218

Fruit rooms 244

,, trees 247

,, trees, how to plant 238

,, walls, board irons for 238

,, ,, doorways in 237

,, ,, wiring 238

Furnishings for the garden 155

,, of the summer-house 144

Furniture for conservatories 218

GAMES, lawns for

Gangways, covered

Garden design, examples of

,, ,, history of

,, ,, practice of

,, doors

,, for Spring bulbs

,, furniture

,, houses

,, in granite

little gates for

,, on a hillside

ornaments

,, ,, misuse of

„ pavilion, oldest in England

,, seats

„ to a small detached residence

,, upkeep, cost of

,, walks

Gardening and art

,, monastic

Gardener's cottage, placing of

,, potting sheds

Gardens, Alpine

,, at Ballimore, Argyll

,, ,, Foots Cray Place

„ ,, Lees Court, Faversham

„ Little Onn Hall, Staffordshire

,, „ Roynton Cottage

„ Rushton Hall

,, ,, Windsor Castle

,, ,, Wood, Devonshire

,, Wood Hall, Cockermouth

bog

„ extent of, how determined

„ for a larger detached residence

,, ,, a suburban residence

,, ,, carnations

„ G. M. Freeman, Esq., K.C.

,, hard-wood plants

„ ,, one species of plant

,, , roses

in Buckinghamshire

„ Dutch style

,, Italian style

,, "natural" style

kitchen

made from farm enclosures

medieval

Norman

of the eighteenth century

,, Marie de Padilloa, Seville

on a flat site

paved

Renaissance

rock

Roman

to a classic renaissance mansion
„ a large town house

31,

104,

101

152

329

212

155
I4I

363
65
381
155
155

168

33i
29

121

246
219

208

357
368
104
359
373
388

363
381
204

3°
334
336
in
104

112
109
IIO

34
5
4
5

233
in

3
3

159
359
131

201

368
338

Gardens to an ancestral domain

,, ,, semi-detached houses

,, too flat for a terrace

wall

,, wild

Gate at Ashton-on-Ribble

,, ,, Hartpury House

„ ,, Shrublands, Windermere

,, „ Wraysbury

,, for Andrew Carnegie, Esq., D.C.L.

piers, design of

,, ,, in local materials

Gatehouse at Thornton Manor

Gatehouses

Gates

at Dunchurch Lodge

,, Little Onn Hall

,, ,, Wood, Devonshire

for little gardens

,, in wood and iron combined

,, lych-gates

,, postern

,, wooden

,, wrought iron

General principles of planting

Georgian and Early Victorian planting ...

Glades, woodland

Glasshouse, small for an amateur

Glasshouses ,

as tenants' fixtures

at the Flagstaff, Colwyn Bay
,, Holehird, Windermere

,, ,, Windermere

,, ,, Wych Cross

,, examples of

,, for forcing

heating of

,, height of

,, internal fittings of

„ lean-to

opening gear for

paving for

,, planning of

slope of roof

,, soil beds for

,, span-roofed

,, staging for

sub-structure for

,, three-quarter span

,, water supply to

Gradients of drives

,, how to set out

Grass banks and walls compared

,, ,, steps in

,, „ drainage of

,, ,, to terraces

edgings to paths

,, in the wild garden

,, seed

Grass, substitutes for

Gravel walks

Graythwaite Hall, bridge at

,, ,, description of grounds

,, ,, terraces at

Green avenues

Greenhouses. See Glasshouse*.

Greenwich Park, London

,, time and sundial time

Grotto-work in the conservatory •.

Grottos

, 206,

55-

121, 126,

Page
349
329
104
207

201

64
64
64
64
64

45
45
49
93
62
46
46
46

279

265

252

230

215
224
230
229
230
227
227
225

220
223
225
224
226
226
2IQ
223
226
224
225
224
224
227
76

123

'34
205
129
127
132
148
349
91
251

5
1 60

218
206

399

GENERAL INDEX— continued.

Page

Grounds to a new country seat 343

Grouping of service buildings 43

Grouting for drives 82

Groves of small trees 253

Guards for trees 276

HA-HA fences 5°

Haddon, terraces at 91

Hague, Palace of Peace, canal at I91

Halsey, Mrs., gardens for i°4

Hampton Court, fountains at 185

Hard wooded plants, gardens for 112

Hardy climbers, list of 3°5

conifers, list of 288

perennials, list of 3X5

roses, list of 3TO

Harmonious effects, how to obtain in planting 267

Harmony between terrace and residence necessary 94

Hartpury house, gate at 64

Health and choice of site 24.

Heating chambers 219

for glasshouses 226

glasshouses 22°

Hedges 55

Hedges, clipped, objections to them considered 256

formal 255

how to clip 256

,, materials for 257

of more than one tree 259

,, on earth cops 259

openings in 259

,, thorn, how to plant 259

Height of terrace walls 9*

Hepton, Sir Wilfred, garden for 118

Herbaceous beds, borders for rock plants to 210

borders, how to plant 109

„ ,, the placing of 114

Herring-boning drains 128

Highland garden 357

Highway, and junction with drive 79

„ houses close to 43, 52

Hill, Hampstead, description of grounds 338

,, ,, pergola at 150

Hill, Thomas 4

Hillside garden 381

History of garden design 3

Hogg, on gardens for one species 109

Holehird, Windermere, glasshouses at 229

Hot water heating for glasshouses 220

installations to glasshouses 220

House and terrace to harmonize 94

House planning and landscape architect's requirements 29

,, the placing of 27

Houses close to highway 43, 52

Hypericum calycinum as a substitute for grass 127

IDEALS of the landscape architect 20

Imagination, lack of, in modern planting 265

Importance of scale in designing drives 71

Individuality of the site 30

Informal and formal lawns 122

„ ,, walks, connection of 133

,, drives 74

lawns 125

,, treatment of water 193

Inigo Jones 5

Insectiverous plants 212

Internal fittings of glasshouses 225

summer-houses

144

Inverary, gardens near 357

Page

Iris gardens 212

Iron bridges 147

,, fences (wrought) 62

, , seats 168

,, unclimbable fencing 257

Italian style of gardening 4

Ivy as an edging to paths 134

,, a substitute for grass 127

JOINING drives and service roads 77

Jones, Inigo 5

Junction of drive and highway 77, 79

,, „ ,, with carriage court 80

KEARSNEY Court, Nr. Dover, canal at 191

Kemp, Edward n

Kerbs for fountain basins 183

Kew Gardens, lake at 193

Kitchen garden, aspect of 2^4

at Flagstaff, Colwyn Bay 234

at Little Onn Hall 234

dipping wells for 186

in America 244

shape of 235

Thornton Manor 245

,, ,, walks 240

,, ,. walls, wiring 238

Wych Cross Place 234

Kitchen gardens 31, 233

,, ,, aesthetic possibilities of 233

at Dunchurch Lodge 240

,, ., construction of 236

,, dipping wells for 241

doorways for 237

,, drainage of 235

espaliers in 241

,, ,, examples of 244

placing of 233, 234

,, ,, size of 234

,, soil for 236

,, „ walls for 237

,, ,, water supply for 241

Klompje bricks for paving 131

Kraal, Berkhamsted, gardens at 336

LAIDLAW, Sir Robert, gardens for 114

Lakes, artificial 193

Lake at Battersea Park 195

Landscape gardeners, destruction of Tuder gardens by 388

Lake at Kew Gardens 193

,, District garden 354

old walls in 210

,, in the East Park, Wolverhampton 195

Lakes, planting round 196

,, wrongly placed 196

Land drains. See Drains.

Landscape and domestic architects, co-operation be-
tween 16, 27

Landscape architects' and engineers' methods contrasted 75

architecture denned 15

,, architects, functions of i&

requirements in house planning ... 29

the training of 18

architecture and the lay mind 18

l( ,, ideals governing 20

" Landscape Architecture," The term as usually under-
stood 16

gardeners of the eighteenth century 6

gardening, modern revival in n

"tricks" in 69

4OO

GENERAL INDEX— continued.

Large entrance gates i

,, town garden

Lattice fencing

portable

Laundry green, aesthetic substitute for clothes lines

Lawns

,, a great national asset

and classic architecture

,, drainage of

,, for bowls

,, for croquet

, , for games

for tennis

,, formal and informal

,, informal

,, new, how to mow

on very dry sites

,, seed for

soil for

sunk

turf for

undulating

Lay mind, the, and landscape architecture

Lead cisterns

statuary

,, urns

Lean-to glasshouses . . . :

Le Notre

Lees Court, Faversham, sunk gardens at

Levels of terraces, how to set out

Levels for drives

Little gardens, gates for

Little Onn Hall, gates at

,, ,, kitchen garden at

Staffordshire, description of grounds . . .

,, ,, ,, moat at

sunk gardens at

Local character in fences

,, factors influencing planting 252,

material, effective use of 45,

materials, use of in pergolas

Lodges

by E. P. Warren, Esq

,, Flagstaff, Colwyn Bay

harmony with surroundings necessary

placing of

to symmetrically planned drives

windows of

Locality, choice of

Lodges, double

Loggias

Long flights of steps ;

Loudon on avenues

Loudon on Brown and his followers

Lych-gates

Page
62

338
59
165
331
121
121
122
128
123
123
101

123

122

125
I30

125
129
129
104
129

125

161
156
161

224

190

104

234
359
188
10.4

266
60

150
37
41
41
43
39
74
39
23
39

140
99

251
II

.64

MADRESFIELD Court in

Mansion, the placing of 27

Medieval gardens 3

Markham, Gervase 4, 5

Marnock, Robert n

,, ,, on arrangement of trees 276

Mass and scale in planting 268

Masses, planting in 109

Material for bridge building 145

,, „ plantations 266

,, ,, drives 81

,, ,, hedges 257

Mean and Solar time 159

Mechanical sundials 160

Melbourne Hall, the dark arbour

Milner, Edward

Mist, sites free from

Misuse of garden ornaments

,, of water in the garden

Mixed hedges

Moat at Little Onn Hall, Staffordshire

Modern neglect of picturesque planting

,, revival in landscape gardening

Moisture-retaining hollows

Monastic gardening

,, ruins incorporated with garden scheme

Motor-cars and design of entrances

Mount Stewart, bridge at

„ ,, rocky stream at

Mowing new lawns

Mountain home

1 88,

Page

255

155
175
259
36l
265

204

361

70
148

197
130-

373

NATURAL and formal styles contrasted 9

,, rock gardens 204

style of gardening 5

Naturally treated lakes 193

Neglect of picturesque planting 265

Newton Green Hall, rose garden at 118

Norman gardening in England 3.

Normanhurst, St. John's wort at 127

OAK and brick steps

, , cord-wood

,, posts, burying

,, the best wood for the garden

Objections to hedges considered

Oblique entrances

Old Tudor garden restored

Old walls, how to treat in.

Open-air dining rooms

,, panels in walls

Opening gear for glasshouses

Openings in hedges

,, „ trellis screens

Orangeries and conservatories

Orchards

Ornamental borders, planting of

Ornaments for the garden

Outlying groups to plantation

Overflow to fountains

Overhand trenching

PAINTING garden furniture

Palace of Peace, The Hague, canal at

Palais Royal, Brussels

Palings, See Fencing.

Palladian bridges

Paris, Pare, Monceau

Park plantations

Paths. See Walks.

Pavilions, water

Paving

,, colour effects in' \

„ "crazy"

,, for conservatories

for glasshouses

for kitchen garden walks

,, for terraces

Paxton, Sir Joseph

Paved walks

Peach houses, heating of

,, ,, slope of roof

trellis for

Peaty subsoils, drives on

'32,

163
162

25&

70-
388
2O9

137

226

259

i6fr

215
246

273
'55
270
184
236

163
191
159

147
159

274

172

131
101
207
218
226
240

100

131

221

223

225

401

GENERAL INDEX— continued.

Peeled larch fencing

Peiper, Mr. A. S. A., designs by

Perenni als, hardy

Pergola at The Hill, Hampstead

,, in slate-rock and timber

Pergolas

,, expressive use of local materials in

„ rustic

Perspective, allowing for in drive planning

,, on formal drives

Pines and conifers, list of

Pinetum, list of shrubs for

Pitching

Pits and frames

Placing of glasshouses

,, of the kitchen garden 233,

,, of suburban houses

,, the mansion

Planning, centralization in

,, compactness in

,, conservatories

,, of glasshouses

,, walks

Plant houses, heating of

Plantations, disposition of

,, fencing

„ framing vistas

,, outlying groups to

„ preparing ground for

Planting

„ choice of material for

„ effect ot wild primeval, how to obtain

,, for Winter effects

„ fruit trees

„ general rules for

„ how influenced by local conditions

„ how rapidly to obtain effect by

,, how to obtain harmonious effects

,, in masses

,, in masses of one sort

„ in straight lines, when permissable

„ in the eighteenth century

,, list of flowering shrubs for

,, near classical buildings

,, ornamental borders

„ restraint in

,, rules governing

,, scale and mass in

„ study of existing examples

„ the rock garden

Plants for water gardens

Play-houses for children

Pleached avenues

walks ,

Pollarded avenues

Ponds, aquatic plants for

,, for bathing

,, for water-lilies

Portable lattice

Portal entrances

Postern gates

Posts, burying feet of

,, caps for

Potting sheds 219,

Practical planning of curved drives

Practice of garden design

Precedent of garden design

Preparing ground for plantations

Prescription for grass seed

Preservation of oak posts

Page
58

315

150

336

149

15°

152

288

226

219

234

215

219

130

221
269

275
271
270
275
265
266
275
274
238

279
252
273
267
109
271
268

292
268
273
273
269
268

274
2IO

325
144

73
252

325

188

187

165

163

226

275
129
163

Page

Preserving individuality .'.... 30

Price on Brown and his followers ....'... 1 1

Primeval planting, how to imitate 275

Privacy and curved drives 77

Public paths, bridges over 149

QUARRIES, disused 204

RADIATING avenues

Ranges of glasshouses, how to plan

Renaissance gardens

Repton

, , on avenues —

,, ,, designing walks

,, scale in planting

Repton's rules for planting

Reserve garden

Restful effect of terrace

Restraint in planting

Revival in landscape gardening

Rhodes, The Hon. Cecil, garden-house for

Riven oak fencing

Roads, public, bridges over

service 69,

Rock garden and wall garden, distinction between

,, ,, what to plant in

gardens, natural

,, plants, how to plant

in the herbaceous border

Rock-work, artificial, see Artificial Rockwork.

Rolling drives

Roofs to glasshouses, slope of

Rooms, open air

Rose arches

, , bowers

,, garden, Newton Green Hall

,, gardens

,, screens

Roses, lists of

Roynton Cottage, description of grounds

Ruins, monastic, incorporated with garden scheme

Rules for planting 269,

,, ,, ,, Repton's

Rushton Hall, description of grounds

Rustic bathing ponds

bridges

,, pergolas

summer-house

SAFETY of entrances

St. John's wort as a substitute for grass

Scale and mass in planting

of entrances

,, wrong view of

Scenery of exceptional beauty, and drives

Screens of roses

of trellis

Sculpture. See Statuary.

Seats

Sections for drive-making

Sedding on individuality of site

Seeds for lawns

Semi-detached houses, gardens for

Servants, shelter for in carriage court

Service roads

Seville, detached columns at

Shape of flower beds

, , of kitchen garden

Shelters for boats

for drivers in carriage courts

69,

219

4
9

^33
268

10
246

8?
-73

II
141

59
149

77
208

2IO
204
207
2IO

82
223
137

1 66
1 66
118
no
1 66
310
373
36i
279
10

338
190
149

152
142

70
127
268

37
268

70
1 66
164

1 68
76

3°
129

329

5°

159

108

235
171

5°

402

GENERAL INDEX— continued.

Shrublands, Windermere, gardens for

gate at

Shrubs, flowering, list of

tubs for

Site, a typical

,, choice of

,, elevated

,, individuality of

,. of the wild garden

Sites, exceptional

Size of flower beds

,, of kitchen gardens

Slate staging for glasshouses

walls in the Lake District

Small detached residence, garden to

garden better without drives

gardens, gates for

Soils, very light, how to treat

Solar and mean time

South Coast, gardens on

Sowing lawns

Span-roof glasshouses

Specialisation

Specialised wild gardens

Specimen trees, how to plant

Split oak fencing

Spring bulb garden —

Staging for glasshouses

Statuary, applied

,, for water lily ponds

„ placing of

Steps

,, at Villa d' Este

,, in grass banks

,, various forms of

,, very long flights of

widths of

Stone balustrades for terraces

bridges

„ coping

edgings for grass walks

for kitchen garden walks

„ to paths

,, quarries old

,, seats

,, walls

Stovehouses

Strained wire fencing

Streams

,, plants for

Styles of gardening, formal and natural contrasted

Sub-aquatic plants

Subsoi 1

Substitutes for grass

Sub-structures for glasshouses

Sub-surface material for drives

Suburban houses, placing of

residence, gardens for

Successive floral displays

Summer-houses 137,

,, internal fittings of

,, rustic

Sundials

mechanical

to ascertain correct time by

Sunk lawns

Superstructures to bridges

Surfaces of terraces

Steps, oak and brick

brick

197.

Page
334

291

167

3°

202

1 08

234

225

2IO

331

65
125

159
23

129

224
15

212

275

59
212
225
156

188

155
98

99
98

147

128

240

134
204
1 68
60
225

57
205

325
9

325
24
127
224
82
43
336
315
141
144
142
159
1 60
160
104
148
100

100
IOO

Page
100

Steps, construction of

Symmetrically planned drives ................................. 73

lodges for .................. 74

195

TARN Hawes near Coniston

Taste and fashion contrasted ................................. 19

Tasteful use of local materials ................................. 60

Tazzae ........................................ „ . .• ...................... 182

Tea room ............................................................... 144

Teak garden furniture ............................................ 162

Tennant's fixtures, glasshouses as .............................. 224

Tennis ............................................................... 104

Tennis lawns ......................................................... 125

tea rooms for .................................... 144

Terra-cotta vases ................................................... 161

Terrace, flower beds on .......................................... 101

steps ...................................................... 98

walls and grass banks compared , ................. 92

, , , , balustraded .............. ........................ 94

,, „ cost of ............................................. 92

,, ,, height of .......................................... 94

,, ,, treatment of .................................... 92

Terraces, aesthetic purposes of .................. . .............. 87

,, and residence must harmonize .................... 94

,, and terrace gardens ................................. 87

,, at Blicking Hall ....................................... 91

at Graythwaite Hall ........ ......................... 91

,, at Haddon Hall ....................................... 91

at Tissington ............................................. 91

,, at Wood, Devonshire ................................. 91

., balanced effect, how obtained ..................... 141

,, examples of .......... , .................................. 90

,, focussing views from ................................. 88

,, lawns for games on ................................. 101

,, gardens too flat for .................................... 104

,, grass banks for ....................................... 92

,, in black slate .......................................... 94

levels of ................................................ 88

,, paving for ................................................ 100

,, restful effect of ....................................... 87

,, surfaces of ................................................ 100

,, terminations of .......................................... 88

,, walls for ................................................... 92

widths of ................................................ 90

,, with a cross fall ............. . ......................... 91

Thomas, Edward ................................................... 1 1

Thorn hedges, how to plant .................................... 259

Thornton Manor, carriage court at .......... . ................ 49

,, ,, gatehouse at ................................. 49

,, ,, kitchen garden at ........................ 245

Three-quarter-span glasshouses ................................. 224

Tile and brick coping ............................................. 61

paving ............................ ................. 131

Timber, preservation of .......................................... 163

Time as told by sundials and clocks ........................ 159

Tissington, terraces at ..... .................................... 91

Tivoli, steps at ...................................................... 99

Topiary ............................................................... 259

,, dwarf ...................................................... 262

,, sundials ................................................... 159

Topographical architecture ....................................... 15

Town garden, large ................................................ 338

Training of landscape architects .............................. 18

Treatment of old walls .......................................... 209

,, ,, terrace walls ....................................... 92

Tree-guards ......................................................... 276

Trees for avenues ................................................... 72

,, fruit ............................................................ 247

,, groves of ...................................................... 253

,, how to plant ................................................ 275

GENERAL INDEX— continued.

Page

•Trees of naturally formal habit 261

.Treillage 167

„ in the conservatory 218

Trellis 164

,, for peach houses 225

Trenching 236

Trentham, Portugal laurels at 261

"Tricks" in landscape gardening 69

Tubs, wooden 167

Tudor garden, restoration of 388

Turf for lawns 129

Twin lodges 39

Typical site described 25

UNCLIMBABLE fencing 57, 257

Undulations, artificial 125

Uniformity in trees for avenues, how to obtain 72

Unnecessarily long drives 70

Unsightly back premises, how to screen 217

Upkeep of gardens 29

Urns 161

VAN ALLEN, J. J., Esq., gardens for 388

Vases 1 61

Verandahs 137

Verges 134

Views from terraces, treatment of 88

Villa d'Este, steps at 99

Vineries, brickwork for 225

design of 225

,, heating of 221

Vistas, framed by plantations .^ 270

,, . treatment of walks at ends of x". 253

Visualising curves 48

WALKS 121,

,, asphalt

„ bower

,, bordered by carnations

„ breadths of

,, cement

,, connection of with carriage drive

,, culs-de-sac in

,, curved, when to use

filbert

gravelled

,, inconspicuous

in kitchen gardens

„ in the rock garden :

,, in the wall garden

„ in the informal garden

„ paved

,, pleached

,, Repton on the design of

„ treatment of at ends of vistas

,, treatment of verges

,, unnecessarily circuitous

Wall fountains

,, garden

». ,, and rock garden, distinction between

,, ,, how to build

,, trellis

Walls and grass banks compared

,, brick

for kitchen gardens

,, old, how to treat IIt

open panels in

stone

130
132
255

112
I30

132

J34
133
355
262
132
132
240
207
207
133

133
253
'34
130
184
206
208
207
1 66
92
61

237

209

Walls to terraces

,, wiring for fruit

Warren, E. P., lodges by

,, House, gardens at

Water, decorative treatment of

informal treatment of

,, levels of canals

lilies in fountain basins

Water-lily ponds

,, ,, ,, statuary for

Water, misuse of

,, pavilions

,, plants for

,, supply for fountains 18^.

,, ,, ,, kitchen gardens

,, ,, ,, glasshouses

works, elaborate, out of place in English gardens

Water's fascinating qualities

Weed killers, effect on bricks

West Coast, gardens on

Wild garden, fencing for

,, ,, site of

Wild gardens

., ,, specialised

Wind and fountain sprays

Windermere, design for gardens at the Corbels

,, gardens at Clevehowe

,, ,, at Shrublands

to semi-detached houses at

Windsor Castle, gardens at

Wing walls, curved, method of setting out

„ to entrances

Winter display in the rock garden

„ effects, planting for

,, gardens

terraces for use in

Wire fencing

Wiring fruit walls

Wolverhampton, lake in the East Park

Wood, Devonshire, Bridge at

,, ,, carriage court at 49,

,, ,, description of grounds

espaliers at

, , , , gates at

gate piers at

, , , , terraces at

Wood for garden furniture, which is best

Wood Hall, Cockermouth, description of grounds

Wooden balustrades for terraces

,, bridges '.

,, garden furniture

,, seats

gates

,, staging for glasshouses

tubs

Woodland glades 126,

,, walks, seats for

Wraysbury, gardens at

gate at

Wrest, Bedfordshire, canal at

Wrought iron fences

Wych Cross, frame ground at

,, ,, glasshouses at

,, ,, kitchen garden at

Page
92

238

41
114

175

103
192

'S3
187

188

175
172

325

185

241

227

176

175

131

202
201
212
J77
331

354

334

325

211

2/4
2I7
IOO

57
238
195

363

243
46

162

38i
94
148
162
1 66
46
225
167
352
169
104

<M
190

62
246
227
234

YEW alleys 255

hedges 255

clipped 259

W. HOLMES, LTD., General Printers, Ulverston, Lanes.

404

THIS BOOK IS DUE ON THE LAST DATE
STAMPED BELOW

AN INITIAL FINE OF 25 CENTS

WILL. BE ASSESSED FOR FAILURE TO RETURN
THIS BOOK ON THE DATE DUE. THE PENALTY
WILL INCREASE TO SO CENTS ON THE FOURTH
DAY AND TO $1.OO ON THE SEVENTH DAY
OVERDUE.

•Juw 3 1937

DEC 171937

.pa 1 0 1942

ftrrt •»•*•*

LD 21-100m-8,'34

YH 00424

UNIVERSITY OF CALIFORNIA LIBRARY

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